The first two chapters of ‘Loki’ surprised us with their ability to enter a world as complex as that of TVA and the Minutemen. Also, of course, they were a veritable playground for a character of such potential as Tom Hiddleston’s Loki. In both, however, the series looked like it was going to focus on a heterodox police investigation of the killer Loki variant. The end of chapter 2 came and we met her.
It is then when, to reach its intermission, the serious one took a narrative turn and focused on the coexistence of Loki and the so-called Lady Loki, who soon made it clear that her name is Sylvie. We confirmed that while the character of Sophia Di Martino is an interdimensional variant of Loki, it is also the way to introduce the character of the Charming Sylvie into the MCU. A 2 for 1 that has been marked by the MCU in its adaptation of the comic world, come on … The important thing is that the series goes from being a Loki trying to capture another Loki to showing us the coexistence of both in the apocalypse.
After a fight on TVA, both end in a dangerous apocalypse in Lamentis 1, in the year 2077, as the video game starring Keanu Reeves ‘Cyberpunk 2077’. With few hours to try to escape alive, both decide with great reluctance to make a truce of peace. Along the way, they begin to get to know each other and to empathize a little. That’s when, during a break on a train ride, they try to get information out of each other. Our Loki speaks something else but if something is clear it is that the two have not had much luck in love in their millennia of life.
None have managed to have anything serious and true with anyone, but that does not mean that there have been many suitors and this is when a moment comes that we should not care if it were not for the enormous number of homophobic people that still exist and because Marvel has It took him too long to make one of his leads officially queer in the movies. We spent all of ‘Falcon and the Winter Soldier’ talking about Bucky Barnes’ sexual orientation, and that’s not right. But it is that Disney seems that it can no longer avoid queerbaiting or in Pixar …
That’s why we’re happy to hear from Tom Hiddleston’s mouth on Sylvie’s question about her sexual orientation:
A little bit of each, I suspect just like you.
Thus, in a natural, fast and direct way the matter is resolved, somewhat before the promised queer characters in ‘The Eternals’ or the advanced bisexuality of Valkirya in ‘Thor: Love & Thunder’. Of Loki, yes, we dare not say if bisexuality or pansexuality would be the most appropriate term. It’s funny that you are two opposing versions, played by a man and a woman respectively, of even different powers, be very clear that they are both queer people.
After such a brief but crucial moment, we see how Tom Hiddleston’s Loki drinks and breaks glasses shouting “another”, just like his brother Thor in his first solo film. Also that, although ingenious, he does not know how to define love and ends up creating the most accurately strange metaphor in a long time with that of “love is a dagger.”
But maybe that moment of confession and union, more on the part of Loki than Sylvie (we are not going to call her Lady Loki anymore) will be lost “like tears in the rain” because, let’s not forget, they are in an apocalypse. The entire spectacular episode is a set piece. Unlike the moved, full of information and characters, the first two chapters, here the unity between these two characters and this same scenario commands during almost the entire episode.
Perhaps that is why it is very appropriate that Marvel has decided to leave us a week with a monumental cliffhanger in which both Loki and Sylvie seem doomed to death along with the rest of the inhabitants of Lamentis 1. They do it, honoring the unity of everything. the chapter, after a spectacular sequence shot of just over 3 minutes.
The notion of a sequence shot may already have lost its meaning in a shoot full of special effects, CGI and, most certainly, invisible cuts in the montage. But whether it is false or not, Disney + and Loki decide to show off in moments of panic among the local population. Loki and Sylvie try to climb the ark as their only hope, as do hundreds of others. With the camera spinning around them, these intense three minutes contain collapsing buildings, our two protagonists flying through the air, Loki lifting an entire building with his magic, choreographed hand-to-hand fighting and demanding performances after losing his last? chance to live.
Of course Disney + and Marvel have not come to play with substitutes to this of television. In fact, if Loki shows something, be it ideological, technical or narrative, it is that television can be the place where the MCU expresses itself more, and better.
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