Tom Hiddleston returns to a Loki from the past with nothing to lose.


Norse Deity Loki is sadly known as the god of mischief. So when the Marvel version of this god gets a show of its own, there will obviously be a delicious cunning streak going through the action. Tom Hiddleston is the perfect protagonist in this imaginative new series, perhaps the strangest adventure of the world. Marvel Cinematic Universe again. Loki preview on Wednesday June 9 on Disney plus, with a new episode streaming weekly.

The series opens with a scene from Avengers: Endgame, in which by marvel the mightiest heroes have traveled back in time to the events of the first Avengers movie and stumbled upon the god of mischief while still the rascal we first met all those years ago . This past, Loki hasn’t sought to redeem himself for his meanness because that stuff hasn’t happened yet. So when this Loki picks up a wandering magic cube and uses it to escape, he puts the past on a different path. This brings him to the attention of a never-before-seen cop agency ready to erase everyone’s favorite Mad Deity from existence – unless he turns out to be the key to a threat. temporal that could rewrite the entire MCU …

From that opening scene, the show immediately takes a drastic turn from what one would expect from a Marvel story. Not only that, but he presents his stand with a glorious visual that, perhaps appropriately, involves Loki getting punched in the face.

Director Kate Herron continues this quirky and daring visual style as the series soars in boldly imaginative new directions. This really isn’t the meat and potato superhero action of The Falcon and the Winter Soldier. What if something has the potential to get stranger than WandaVision.

That’s the basis of the show’s appeal: it’s uncharted territory. WandaVision drew us in with its mysterious element, which was totally lacking in the very familiar Falcon and Winter Soldier. Loki takes the weirdness of WandaVision and pushes it even further into an all-new MCU myth that seems big enough to completely upend the whole Marvel affair (unlike previous marvel tv shows, which were precisely crafted so as not to affect the story on the big screen at all). After a decade, it’s exciting to see that there are still some surprises in the MCU.

The first episode in particular is packed with information and ideas, some of huge cosmic significance. It would be pretty boring if the main character just walked around asking questions. But Loki isn’t the type to ask questions. Cast unceremoniously into the Gobi Desert at the very start of the show, his first response is to leap onto a boulder and impress the bewildered locals with a grand divine speech. It doesn’t last long. As the show goes on, you barely notice the exhibit landslide because you’re too busy enjoying Loki’s swaggering arrogance against the baffling new reality of the Time Variance Authority.

Basically, Loki isn’t just a tour guide. Arguably the big screen Loki came to the end of his journey when he make peace with Thor, so going back to the original Trickster from his first appearances gives this version a place to go. He begins to grow taller immediately, making it easier to invest in this version of Loki rather than feeling like the series is needlessly erasing the last few years.

Owen Wilson (left) brings an offbeat energy to the Marvel Cinematic Universe.


Much of Loki’s relatability comes from the charming chemistry between Hiddleston and Owen Wilson, who was inspired to cast as Time Twist Agent Major Mobius. They are like a team between Hannibal Lector and Doctor Who. Wilson’s understated intensity is an ideal foil for Loki’s thin-skinned pride, their flourishing partnership giving weight to Loki’s actions.

And that’s the evil God we’re talking about. So while he’s a character we can root for, resetting also gives him his edge back. Above all, we do not know what he is really planning. Loki’s volatile nature in this unfamiliar setting lends an air of unpredictability that sets the series apart from other Marvel titles, and Hiddleston plays her perfectly.

All of this is wrapped up in a beautiful retro-futuristic world. Decorator Kasra Farahani dons the Time Variance Authority in brown and orange decor stuffed with sci-fi pulp tech, mixing holograms with reel tapes and computers with cogs. There’s a hint of Wes Anderson eccentricity, a dash of Terry Gilliam’s Brazil (“Sign to verify that’s all you’ve said before”) and a hint of Stanley Kubrick’s A Clockwork Orange.

Loki is not yet as common as the kaleidoscopic Legion (a 2017 Marvel adaptation on FX), but it’s in that sense: a dreamed future in the past – so dated it’s timeless.

Even Natalie Holt’s thrilling electro score has a retro feel, reminiscent of these combinations of classical music and old synthesizers. Themes of memory and nostalgia resurface over and over again, as the characters move from their futuristic world to the story, or at least the portrayal of the story on a TV show. (In episode 2 there is a reenactment of the past inside a reconstruction of the past. Understand that one.)

Loki gets angry with the “holy” path he’s supposed to be on all the time. As a true agent of chaos, Loki is the perfect anti-hero to challenge questions of predetermination and free will. As a viewer, you may have free will, but you may also find that you absolutely must keep watching this superimposed, inventive and hugely entertaining series.


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