“Loki” Season 1 Ends With A (Big) Bang

SPOILERS FOR LOKI AHEAD!

The cost of free will in the Marvel Cinematic Universe(s) was high: so high we can’t even begin to comprehend the vast number of ramifications that will spin out of Loki‘s climactic finale…so high that I’m still not entirely sure what actually happened in this episode, except that notably no one died, leaving all our major players on the board heading into what will surely be an even stronger and stranger second season (and oh yes, season two is very much a go: Clark Gregg spoiled that over a year ago, in fact, but a mid-credits stinger at the end of today’s episode outright confirms it).

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Sylvie and Loki | indianexpress.com

I do want to touch on that latter fact before we dive into the embarrassment of riches this finale has to offer in and of itself. Unlike WandaVision and (at least for now) The Falcon And The Winter Soldier, Loki is not and was not planned to be a miniseries, which means its stories, thematic through-lines, and character arcs don’t all wrap up conclusively at the end of this first season. They each have satisfying payoffs for the time being, but…they’re a work in progress, which makes it more difficult to pass any kind of final judgment on them.

Take, for example, the romantic arc between our dual protagonists, Loki (Tom Hiddleston) and Sylvie (Sophia Di Martino). Adored by some as a positive message of self-love, loathed by others as being just shy of incest, either way it’s been building towards something: and that something is a pretty powerful kiss in the final minutes of the episode, albeit one which Sylvie uses to her advantage so she can send Loki hurtling through a portal into another timeline while she deals with the series’ antagonist alone. That arc is by no means finished. Loki loves Sylvie deeply, and he makes that clear when he tells her he can’t bring himself to fight her. Sylvie loves Loki too, and it seems to physically hurt her because of how hard it is for her to trust anyone. That kiss is a great payoff to the journey these two have been on, and it can be a great building-block for future tension and conflict in their relationship.

Similarly, throughout the series we’ve seen Loki become capable of unprovoked acts of empathy, courage, and rational thinking for pretty much the first time in his life. That’s not to say he still doesn’t struggle: when Miss Minutes (voiced by Tara Strong) pops up in the Citadel at the End of Time like a horror-movie jumpscare to offer Loki and Sylvie the future of their dreams as a last-ditch effort to save the Sacred Timeline, the pained expression on Loki’s face and Natalie Holt’s gently wailing Asgardian theme (subtly reminding us of the pain and trauma Loki suffered on Asgard, the motivation for so many of his cruelest deeds) suggest that he’s strongly tempted to take what the animated clock is willing to give him – a timeline in which he prevails at the Battle of New York, survives his encounter with Thanos, and obtains the Infinity Gauntlet.

But the thing is, Loki wants to be a better person than what the Sacred Timeline has planned for him. He’s seen the best of what people – including his own Variants – are capable of, and he wants that, both for himself, and for the people whom he’s grown to love. He wants Sylvie to live the life of her choice, without the Time Variance Authority hounding her for whatever reason. He wants Mobius (Owen Wilson) to be able to live the life that was taken from him by the TVA, maybe even get a jet-ski along the way. He wants to be good, and the only way to do that is to free the timeline…which he does. And if Loki was a miniseries, this would have allowed for a triumphant conclusion to his arc. But it’s not, so this is merely the beginning of what can potentially be a fascinating internal struggle for him as he grapples with doubt, guilt, and perhaps an acknowledgment of the fact that he no longer has an excuse to not be good.

Oh yeah, no biggie, but Loki and Sylvie opened the Multiverse…for real, this time. We all kind of jumped the shark after episode two, thinking Sylvie bombing the Sacred Timeline was equivalent to creating a Multiverse (it wasn’t, and that was something the show nearly adequately clarified), and before that during the WandaVision era we all assumed Wanda would open the Multiverse even though, ironically, she ultimately progressed enough as a character to stop herself from doing that (different strokes for different folks), but this time there can be no doubt. The MCU has officially crossed what Kang the Conqueror (Jonathan Majors) refers to as “the threshold”, a Nexus Event from which there can be no turning back: the Sacred Timeline he’s worked so hard to design and cultivate is finally unraveling piece-by-piece, shedding billions of new branch timelines every moment, and making Multiversal war a matter of “when”, not “if”.

Speaking of which, this event clearly provides the launchpad for Marvel’s fourth Disney+ show and their first animated project, What If…?, which we can now surmise will kick off with this chronological equivalent to the Big Bang, exploring timelines diverging from the events of the MCU films. Spider-Man: No Way Home will also continue the Multiverse saga (suddenly, it doesn’t seem so unlikely that Tobey Maguire and Andrew Garfield are in the movie), and Doctor Strange In The Multiverse Of Madness will either end it or further exacerbate the situation. Given that Kang is still officially set to make an appearance in Ant-Man And The Wasp: Quantumania, and the version of Kang we met in this episode is already dead, I’m inclined to guess the latter. Loki is also now reported to appear in Multiverse Of Madness, so let’s just say the MCU is getting weird.

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Kang The Conqueror | leisurebyte.com

I mean, I already suspected that when the Loki finale opened with the disembodied voices of our beloved Marvel heroes playing over the title cards, mixing with audio of real-life figures including Nelson Mandela, Maya Angelou, Greta Thunberg, and Malala Yousafzai – all meant to convey the disorienting effect of crossing over from the Sacred Timeline, which takes shape as a ring encircling Kang’s Citadel, into an alien region outside of time and space. The Timeline’s circular shape is interesting to me: for one thing, it once again brings to mind images of the Midgard Serpent from Norse mythology, Loki’s monstrous offspring which wraps around the world and bites its own tail. But it also explains the strange nature of time in the TVA, how everything past, present, and future, seems to be happening simultaneously even though the TVA’s own diagrams misleadingly represented the Timeline as a straight line. Circles are potent symbols, as they can have both positive and negative connotations, representing everything from perfection, wholeness, and eternity (i.e. Sacred Timeline) to a sense of meandering and endless repetition. From Crystal Clear Intuition, “A circle protects against chaos and unpredictability, and invites an element of “trusting the universe””, which perhaps helps to explain why Kang chose it: it’s foolproof against Loki’s.

Before I start rambling about the symbolism of circles (and oh boy, am I tempted), let’s move on to my next point: which is that Kang actually wants the Loki’s to succeed, as long as they do it on his terms. It’s never explained exactly why (and that is something I wish we’d learned in this season), but he’s been guiding Loki and Sylvie to his Citadel specifically so they can take over as new heads of the TVA, continuing his life’s work (did I mention that circles also represent transition?) with the same set of authoritarian instructions for how to pick and choose which timelines get inducted into the Sacred Timeline, and which get pruned; sacrificing free will for the promise of stability across all of time. The other option, which Kang wearily admits will end up with him back in the Citadel in a couple of eons starting over again, is to kill Kang and free the timeline, thereby starting a Multiversal war and unleashing the infinitely more dangerous and evil Variants of Kang who also started the first Multiversal war.

Essentially, it’s like a dark and epic twist on Charlie And The Chocolate Factory, if Wonka was a maniacal Time Lord hellbent on controlling all of existence, and the Chocolate Factory and its workforce of Oompa-Loompas were the TVA and its army of cheerfully brainwashed Variants.

Now, it’s not quite perfect. The finale, despite being a lean forty-five minutes long with credits (and no post-credits scene), drags at points, and the bulk of the episode being Kang sitting behind a desk expositing in slow loop-dee-loops about the Multiverse while Loki and Sylvie sit stone-faced across from him and do little to engage with the information or react to it is neither compelling in theory nor heightened in execution by any outstanding narrative trick from the writers (even punctuating the conversation with more frequent action beats or slight changes in location would have helped to keep the episode running more smoothly), unique cinematography, or mesmerizing acting choices.

Jonathan Majors’ Kang is an interesting conundrum: simultaneously eccentric in a bold purple and green outfit with flamboyant, theatrical mannerisms, and muted, with slow and disjointed line deliveries just grating enough to provoke a sigh of relief when Kang finally drops the act, so to speak; revealing an exhausted, weather-beaten noble figure behind all the self-gratifying affectations of a character whom I was beginning to worry was looking mighty two-dimensional for a villain Marvel intends to keep around. But of course, he’s only the first of many Kang Variants to come, and this version of the character has long since dropped the Kang from his name and scoffs at the title of “Conqueror”: he prefers the honorific He Who Remains, an acknowledgment of his permanence, and an opportunity for an interesting conversation about how his name and even his identity matter less than his place and purpose in the timeline, which helps to make this Mystery Box reveal a success. With He Who Remains dead by the end of the episode, one can reasonably hope that when our next Kang Variant appears, he’ll embody more of that dignity which we only get to glimpse in this threadbare version.

And while it’s hard to imagine Judge Ravonna Renslayer (Gugu Mbatha-Raw), Kang’s love-interest in the comics, ever falling for He Who Remains, it’ll be interesting to see if the series pursues a romance between her and one of Kang’s Variants. Renslayer is one of those characters who’s really grown on me over the last few episodes, as Mbatha-Raw has gotten a chance to dig into what makes the villainous bureaucrat tick. She genuinely wants to know who’s behind the TVA, and she’s angry at being lied to, but not for quite the same reasons as Mobius or Hunter B-15 (Wunmi Mosaku): rather than being upset about having her past life stolen and erased by the TVA, she’s simply annoyed that something is preventing her from doing her job to the fullest and hurting the maximum amount of people that she could be hurting if she knew the will of the TVA’s founder. Near the episode’s end, she departs on a search for Kang that will inevitably lead her to one of his Variants – a far cry from her past life as an elementary school teacher in Ohio, but a way to keep the character deeply intertwined with Loki‘s story.

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Ravonna Renslayer | radiotimes.com

As for Loki and Sylvie themselves, the finale separates them in time for the cliffhanger ending that leaves Loki in an alternate timeline where the TVA is ruled over by a Kang Variant who makes his presence known with giant statues replacing those of the Time-Keepers, and Sylvie in the Citadel, watching with horror as the Sacred Timeline disintegrates before her eyes. A lifeless Kang with Sylvie’s sword plunged into his chest offers no guidance or words of advice for how to deal with the catastrophe. I guess it’s time to get Doctor Strange on the phone! And maybe Wanda Maximoff too, while we’re at it. We are totally going to see Marvel’s holy trinity of magic-users onscreen together in Multiverse Of Madness before we even get around to Loki season two, and I am HYPED.

Episode Rating: 8/10

“Loki” Episode 5 Review!

SPOILERS FOR LOKI AHEAD!

Journey Into Mystery, a sci-fi anthology published by Marvel Comics from the late 1950’s into the 60’s, was where Loki got his start as a Marvel villain in 1962, starting a wild ride throughout comics, movies, and now streaming television – which makes it all the more fitting that today’s episode borrows the iconic title for what ends up being not just a journey into the very literal cosmic mystery enshrouding the origins of the Time Variance Authority and the state of the universe beyond the end of time itself, but a trippy bacchanal celebrating the character and their sprawling mythology, with its deep-seated roots in zany Marvel Comics history and the even more outrageously fantastical Norse legendarium.

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The Variants | gamesradar.com

This is of course only possible because last week’s episode dropped Loki (Tom Hiddleston) into a vast, desolate region of time known only as The Void – where the TVA has been secretly unloading all of the alternate timelines and Variants it claimed to have reset or “pruned”, safe in the assumption that if a couple of Variants aren’t immediately devoured by the omniaudient and omnivorous dragon which encircles The Void – perhaps a reference to the Midgard Serpent, one of Loki’s own children in Norse mythology – they will ultimately fall victim to The Void’s harsh terrain, or violent weather. The place is like a sentient meat-grinder, and out of all the billions upon billions of Variants unceremoniously dumped there since the beginning of time, it seems only Loki Variants stand a chance of surviving for very long.

And while this provides Loki with a very clever opportunity to put dozens of Loki Variants onscreen simultaneously and revel in the pure chaos that results, it also serves a larger thematic purpose: allowing Loki to witness first-hand the worst of what he’s capable of and willing to do, but showing him that it’s possible – not easy, but possible – to break the vicious cycle and change. Physically, on a surface-level, he’s done that countless times: I mean, in this very episode we become acquainted with a version of Loki who lives full-time as an Alligator, though incredibly that was not what triggered the TVA to prune them. But to be meaningful and not merely performative, real change has to happen from the inside out. And that, in a nutshell, is what Loki is all about, and that is exactly why I love this show so much.

Because it applies to both individuals and institutions, and Loki illustrates that beautifully. We watch the God of Mischief – multiple versions of them, in fact – actively work to change themselves for the better, starting with their hearts, but we also watch the same thing unfolding within the TVA, which is rotted to its core, riddled with corruption, and ultimately built on a lie. If the TVA is going to be saved, it must first be dismantled down to the bare bones and rebuilt from scratch. The easy thing to do would be to swap out leadership, to declare that Judge Ravonna Renslayer (Gugu Mbatha-Raw) is the problem, and that replacing her will magically fix everything. But she is merely the predictable symptom of a problem that has plagued the TVA since its foundation – that it is constructed on an inherently unjust guiding principle, and the longer that problem is allowed to fester, the longer the TVA will continue to cause harm.

You can probably understand why this message is so timely right now. This is the very same conversation we’ve been having about the United States of America, and the answer is the same in real-life as it is in fiction: this country is structurally unsound, and to repair it we have to begin again from the bottom up. The Falcon And The Winter Soldier tried to say something along the same lines, but ultimately lacked the conviction to demand structural change; instead going with the tried-and-true method of demanding that individuals in positions of authority do better while vilifying its characters who were trying to topple oppressive systems. Loki, on the other hand, has Mobius M. Mobius (Owen Wilson), a flawed yet undeniably heroic character, say bluntly that’s he going to burn the TVA to the ground – despite having worked there his entire life, lulled into complacency by the TVA’s propaganda machine.

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Beyond The Void | cinemablend.com

And I’ll be honest with you, I don’t yet fully trust that Loki won’t drop the ball in its final episode. If Renslayer is defeated and her downfall is seen as a total victory, so that the TVA can then proceed with exactly what they were doing but it’s okay because the heroes are doing it now…yeah, I’ll be massively disappointed. But I can’t imagine that will be the case, because the show is making a big point out of the fact that the root cause of the TVA’s problems lies in its far-distant past, with its anonymous founder. The mystery of their identity is what kicks off this tumultuous episode, as Sylvie Laufeydottir (Sophia Di Martino) grills Renslayer for classified information from the TVA archives, and it’s what concludes the episode too – as Loki and Sylvie defeat The Void’s guardian dragon and catch a glimpse of what I can only describe as the French Chateau at the End of the Universe, where the Sacred Timeline ends and…something else begins.

But what makes this final sequence emotionally resonant isn’t just that Loki finally learns how to access a part of his magic that he previously didn’t know existed – although that is indeed very cool, and reminiscent of Wanda Maximoff’s triumphant metamorphosis into the Scarlet Witch at the end of WandaVision. It’s that Loki first sees another version of himself, Richard E. Grant’s Classic Loki, die to save his and Sylvie’s life from the dragon – and not because he thought helping them would work to his advantage in the long-run, not because he thought he could use it as leverage over them, but simply because he believed in them and what they were doing. That belief is what inspires Loki to fight harder than he’s ever fought in his life, because it proves unequivocally that a Loki is no more inherently evil than they are good, that his destiny is not determined, and that he can be anything – even an alligator.

I don’t know how the series will expand upon this idea in the finale, but I hope there’s still more emotional and mental growth in store for Loki. I feel as though the logical next step is some kind of resolution to the controversial romance (?) brewing between Loki and Sylvie. It proved essential to both their characters, as it allowed them to find qualities in themselves worth loving for the first time in their lives while learning how to feel and show genuine affection for others at the same time. Thematically, I feel like it makes the most sense for the two to go their separate ways at the end of the series, bringing the love and empathy they’ve learned through their relationship with themselves to relationships (romantic or platonic) with other characters.

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Classic Loki | cnn.com

Heading into the finale, I’m feeling pretty good about where we stand. I trust head writer Michael Waldron, director Kate Herron, composer Natalie Holt, and this entire ensemble cast, to pull off something extraordinary with the final episode while laying the groundwork for a multi-season narrative. Loki is supposedly getting a second season, and The Void alone offers endless possible storylines to be explored in depth, from the backstory behind the Thanos helicopter lying wrecked in a field, to the origin story of Throg, the amphibious Thor whom we find locked in a mason jar. With the dragon defeated and all of the surviving Variants now free to escape, expect more chaos on the timeline in the near future.

Episode Rating: 10/10

The Bi Community Keeps Winning With “Loki” Episode 3

SPOILERS FOR LOKI AHEAD!

I can’t tell what’s more mind-boggling to me: that in a single night, the Marvel Cinematic Universe went from having precisely zero canonically queer characters (leaving aside Gay Joe Russo because I will do literally anything in my power to expunge that atrocity from my mind) to having not one, but two whole canonically bisexual characters, or that it took thirteen years to do what ultimately cost Loki (Tom Hiddleston) only about ten seconds in today’s episode of Loki – confirm, in a single line of dialogue, that he’s attracted to both men and women.

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Loki and Sylvie | ew.com

And yeah, thirteen years is a long time to wait, but take into account the fact that Loki has been depicted as queer in Norse mythology for literal centuries, and the MCU is alarmingly late to the party. The perfect time to organically reveal Loki’s bisexuality in the movies was ages ago – at the very least in Thor: Ragnarok, where the sexual tension between Tom Hiddleston and Jeff Goldblum was so palpable you could feel it even without the script slyly hinting that Loki had seduced Goldblum’s Grand Master, or vice versa. But remember Marvel’s excuse for why a single shot of a woman exiting Valkyrie’s bedroom had to be cut from that film, thereby entirely erasing the only hint of that character’s bisexuality? Because it was “distracting”.

Apply that same faulty logic to all instances of queerness, and it’s no wonder why Loki had to be three episodes deep in his own solo TV series before he could even so much as address his sexuality, with a line straight out of Shadow And Bone bicon Jesper Fahey’s playbook: “A little bit of both.” My hope is that, in the near future, it won’t have to take this long before Marvel characters can be queer upfront instead of having to Trojan Horse their way into audiences’ hearts for decades: and the fact that the writer of today’s episode, Bisha K. Ali, is also presiding over the writers room for the upcoming Ms. Marvel series (as concerning as some of that show’s casting choices have been) is a promising sign. I also hope that Loki director Kate Herron is able to return to the MCU after this series is completed.

And while fans had been hoping for Loki to be confirmed as queer for years because it was just the logical thing to do, I also appreciate that Marvel took an additional tentative step forward, and did the same for Sylvie Laufeydottir (Sophia Di Martino), whom last week we only knew by the title of “Lady Loki” – a title I will no longer be using for her, since it’s become abundantly clear that while she appears to be a Loki Variant, she doesn’t identify with him or many of his experiences. But like Loki, she does seem to be queer – or at least Loki says he suspects as much, and she doesn’t argue the point. It’s hard to say if that makes her canonically queer or not…kind of?

But yeah, apart from (possibly) being bi and doing crimes, Sylvie actually has surprisingly little in common with Loki. The exact details of where/when she came from, who raised her, and why the TVA wants to eradicate her from existence are still unclear, but we got a couple of hints. She was adopted, like Loki, but her adoptive parents never hid that from her. Crucially, she doesn’t seem to have had a strong relationship with her mother – which shocks Loki, given how instrumental he considers Frigga to be in nurturing his talents from a young age when Odin regarded him as a hostage rather than a son. Sylvie therefore learned magic on her own, and seems to have tapped into a vein of chaos magic that allows her to manipulate minds much like Wanda Maximoff.

Lastly, it seems she chose to live permanently as Sylvie, as evidenced by her telling Loki that she doesn’t use his name “anymore”. So the character’s gender-fluidity is apparently an element in the story, and not just on literal paper. But Sylvie mentions that the Time Variance Authority has been hunting her for her entire life, meaning she varied from the confines of the Sacred Timeline at a very young age, perhaps when she chose to live as a woman. If that’s the case, it’s no wonder why she’d get so angry at Loki for calling her by his name. It would also explain why she’s going after the mysterious Time-Keepers who supposedly preside over the TVA – because what right do they have to judge who gets a place in the Sacred Timeline, and who doesn’t? We know other timeline alterations have been authorized by the TVA, so what does ultimately inform the Time-Keepers’ decisions?

Sylvie is looking for answers to all those questions when the episode opens, and we find her infiltrating the mind of a captured TVA agent named C-20 (Sasha Lane), probing for information about how to reach the Time-Keepers, and who guards them. You see, Sylvie is still operating under the assumption that the Time-Keepers actually exist, and I simply don’t think that’s the case. It’s telling that C-20’s intel leads Sylvie straight to the offices of Judge Ravonna Renslayer (Gugu Mbatha-Raw) – the same Ravonna Renslayer who, in the comics, was the one true love of Kang the Conqueror, a tyrannical villain intent on controlling his past, present, and future, by bending time to his will. It’s not like Renslayer has historically been a TVA operative in the comics: Marvel gave her this role for a purpose, and I think that purpose is abusing the authority of the TVA to destroy anything that could threaten Kang’s chances of conquest.

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Sylvie Laufeydottir | cinemablend.com

It wouldn’t be the TVA’s first shady deed. Sylvie later reveals that all of the organization’s millions of workers are Variants, whose memories of their former lives are deeply buried under layers of brainwashing and propaganda. Sylvie is able to briefly reconstruct an expensive resort restaurant from C-20’s memories during a trippy exchange accompanied by Hayley Kiyoko’s very apt “Demons”, but imagine if Sylvie – or Loki, with proper training – were to perform her trick on Mobius? I’d bet good money that in his past life, he was a jet-skier from the 1990’s.

Unfortunately, Sylvie’s attack on the TVA doesn’t go as planned, as Loki is forced to drag her through a time portal to escape from Renslayer. A lot happens in this sequence – which all takes place in the first few minutes of the upsettingly short episode – but Loki taking an opportunity to steal his daggers back from Hunter B-15’s locker, and Sylvie trying to use Loki’s life as leverage over Renslayer, only for the judge to encourage her to kill the God of Mischief, were definitely highlights of what I feel is only the warm-up to a much larger assault on the organization coming later in the series. Look back at the trailers, and there’s a shot of Renslayer standing on her desk wielding her baton that we still haven’t seen – so someone must get past her office’s gilded doors, and whatever they discover there will be huge.

The time portal unceremoniously deposits Loki and Sylvie on Lemantis-1, in the year 2077, shortly before a collision with a nearby moon is set to wipe out the purple planet’s entire civilization, unless they can escape upon a spaceship named the Ark. This survival quest gives the two characters plenty of time to bond and wear each other down a little – perhaps a little too much. Despite being given ample warning that “perverse fanfiction” would come out of the pairing, there’s still discourse around whether it’s problematic to ship what Twitter dubs “selfcest” – a thing that to the best of my knowledge is literally impossible in the real world barring any sudden advancements in cloning technology, and thus is not worth being alarmed about. That being said, Loki and Mobius are where it’s at, thank you very much.

In Mobius’ absence, however, I’ll give you that Di Martino and Hiddleston are loads of fun, and their dynamic is perhaps a bit more lively and energetic than Hiddleston and Wilson’s circuitous banter. Di Martino isn’t trying to parody Hiddleston right back at him, something that could easily have become grating: instead, her Sylvie has a world-weary frustration and cynicism that plays well off of Hiddleston’s nihilistic good cheer. There are some hilarious moments when the two accidentally discover a trait they have in common, such as when the two argue about who’s the most flagrantly hedonistic, but they also share a poignant outlook on love that comes with their timelessness, and an appreciation for sharp objects (although Di Martino carries a sword, and is a more efficient fighter all around – after shedding her burdensome cloak, ditching her tiara, and letting her hair down as she plunges into battle, she feels like she fully comes into her own).

The episode’s final battle, an experimental long-take sequence unusual for Marvel, is a beautiful display of both Sylvie and Loki’s magical abilities that makes me desperately want a video game based on the show, where a player could switch between the two characters. The frantic running and backtracking through the labyrinthine streets, the rotating camera movements, not to mention the central conceit of avoiding falling objects while progressing towards a prominent object in the middleground – the Ark – which blows up dramatically when a certain point is reached: all of it seems designed to mimic third-person gameplay, and it’s random yet glorious.

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Lemantis-1 | screengeek.net

Unable to enjoy the visual splendor from their vantage point, Loki and Sylvie will have to find another way off of Lemantis-1 before it implodes. And with just three episodes left to go, I hope there’s enough time for them to explore the Multiverse that Sylvie created when she attacked the Sacred Timeline last week, while allowing for a satisfying conclusion to the mystery of the Time-Keepers. But the fact that Loki is all but officially confirmed to be getting a second season gives me hope that whatever happens, there’s more to explore in this bizarre, wonderful, corner of the MCU, and that by then Loki and Mobius will be the happy couple we honestly deserve.

Episode Rating: 9/10

It’s Only Been 2 Episodes, “Loki” – How Did You Already Destroy The Timeline?

SPOILERS FOR LOKI AHEAD!

Dear everyone who complained (sometimes with legitimate reason, to be fair) that it took forever for things to happen in the Marvel Disney+ shows, and that what did happen had no immediate effect on the movies – are you happy now? Because we’re only two episodes into Loki, and the entire duration of the Sacred Timeline, from its highly classified beginnings in the ancient past to its conclusion in the far-distant future, just got carpet-bombed into oblivion, causing gods only know how many new timelines to emerge at once, probably irrevocably altering the landscape of the Marvel Cinematic Universe. You all kept asking for a Multiverse of Madness; well, I think you just got one.

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Loki and Hunter B-15 | rollingstone.com

But I think the biggest testament to the strength of the writing and direction behind Loki (shoutout to Michael Waldron and Kate Herron, respectively) is that, in just two episodes, we already care enough about many of the characters in the Time Variance Authority that we can empathize with them as their entire life’s work, the preservation of the Sacred Timeline, comes crashing down around them. That empathy will never translate into sympathy for the institution itself, which is a mechanism designed with the sole intent and purpose of eradicating free will from the universe, but I feel for the people there: perhaps because I genuinely believe they are people, not beings called into existence by the Time-Keepers.

That said, I don’t doubt that there’s a good and probably sympathetic reason behind why the series’ current villain, a rogue Loki variant who for the purposes of simplification I will be referring to as Lady Loki (Sophia Di Martino), chose to obliterate the Sacred Timeline, rendering it no longer sacred nor singular. I can definitely appreciate the poetic irony in her using the TVA’s own technology to undo all of their work in an instant, dropping hundreds of volatile “reset charges” into an equivalent number of random points on the Timeline. And that’s what leads me to believe she’s doing what she does for a reason, something beyond an innate desire to see the world burn: because she seems to have purposefully singled out the TVA for her vengeance.

Is she really Lady Loki, though? She only reveals herself in the episode’s final minutes, and is never named. When Loki (Tom Hiddleston) addresses her as a Loki, she flinches and says she doesn’t want to be called that – but at the same time, goes along with his assertion that she is him, and even remarks that it’s the other way around; he is her. But given the fact that Di Martino bears almost no discernible resemblance to Hiddleston, and that the hairstyling team chose to accentuate that by giving her short blond hair in contrast to his long black locks, the only visual clue she offers for why we should be calling her Lady Loki is her golden tiara, which sports a single, rather unimpressive, devil’s horn – the other having been rudely hewn off.

I know it sounds bizarre to nitpick what seems so obvious, and it’s very likely that Sophia Di Martino is playing Lady Loki, but this series keeps reminding us not to take anything at face value, so I feel I’d be doing it a disservice if I didn’t…well, question everything. A prime example of this is the matter of the Time-Keepers, the trio of mysterious alien deities who supposedly rule over the TVA. Mobius M. Mobius (Owen Wilson) admits in this episode that he’s never actually met them, and Judge Ravonna Renslayer (Gugu Mbatha-Raw) once again coyly avoids a question about where they actually are and what they’re doing. Renslayer is conveniently the only person allowed to speak with the Time-Keepers, although she’d be a lot more convincing if she ever had anything to report from them except that they’re busy.

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Lady Loki | hollywoodlife.com

Even Mobius is starting to ask questions – although he’s more interested in why Renslayer apparently has another analyst secretly working for her on the side, than in the identities of the space lizards whom he still believes created him. Remember what I said last week? Loki’s mere presence in the TVA, his unpredictable nature, his critical thinking skills, his knowledge of the outside world, all pose a threat to the organization’s ability to demand blind subservience from its workers by telling them they have no purpose outside protecting the Timeline. He’s rubbing off on his co-workers, instilling the flame of rebellion in the very heart of this violent system, and they don’t even realize it yet.

Whoever actually runs the TVA definitely realizes it, however, and that’s why Renslayer is so intent on shutting down Mobius and Loki’s operation. I think that’s even why Miss Minutes (voiced by Tara Strong) herself comes down to Loki’s office cubicle to keep an eye on the God of Mischief, prompting a hilarious scene in which Loki tries to swat the talking timepiece with one of Mobius’ magazines about jet-skiing in the early 1990’s. Someone at the top knows how dangerous Loki is, and wants him gone before he corrodes the foundations and brings the whole structure tumbling down. I know it’s you, Kang.

But in an awkward turn of events, it’s Loki who ultimately figures out that the Variant has been hiding in apocalyptic events and natural disasters throughout history as a way of masking their trace on the timeline (an absurdly clever reveal that gave me shades of Connie Willis’ Passage: brilliant novel, highly recommend), and it’s Loki who warns the TVA agents about duplication-casting, a power which Lady Loki later uses against the agents (not to be too much of an Agents Of S.H.I.E.L.D. nerd, but Lady Loki’s ability to transfer her consciousness from one person to another, using human bodies like stepping-stones, reminded me of the S.H.I.E.L.D.┬ávillain, Izel). My point is that Loki is actually a huge asset to the TVA.

And Loki knows it. So at the end of the episode, when he’s given the opportunity to stick around with the TVA or follow his own Variant into a time-portal, he chooses the latter – essentially removing himself from the board, rejecting the TVA’s attempts to turn him into a pawn. What he’ll do next depends on where and when he emerges from the portal, but that’s the beauty of it: even he doesn’t know that information! He’s just causing chaos because it’s what he does, because he’s a trickster god.

Loki
Loki and Mobius in Pompeii | flickeringmyth.com

There’s a scene in this week’s episode where Loki is reading through a case file on Ragnarok, which he helped bring about. As Natalie Holt’s excellent score shifts to a somber tone and brings in the sounds of Scandinavian instruments, the camera closes in on Loki’s intense blue eyes. What’s he thinking, as he reads about the thousands of Asgardian lives lost that day? Is there grief there? Vindication? A little bit of both? What makes it so chilling is that we don’t – and may never – really know.

Episode Rating: 9.5/10