After the first two continuations of the Marvel Cinematic Universe as Disney Plus television miniseries that made run juicy and delirious rivers of ink, WandaVision and Falcon and the Winter Soldier, created by the Americans Jac Schaeffer and Malcolm Spellman, comes the of his compatriot Michael Waldron: Loki (2021), perhaps with the promise of breaking the bank.
The surprising thing, in principle, we found in that they commissioned this project without a resume of great experienceBefore, he had only written the episode “The Old Man and the Seat” (4×02) of Rick and Morty (Dan Harmon and Justin Roiland, since 2013), and now the series Heels (since 2021) and Doctor Strange are pending release 2: The multiverse of madness (Sam Raimi, 2022), of which he also signs the script together with Jade Halley Bartlett.
A different case, although not by a landslide, is that of the director Kate Herron; his most relevant contribution is in four chapters of Sex Education (Laurie Nunn, since 2019). Be that as it may, with the focus on the main character played again by Tom Hiddleston (Midnight in Paris), here it is exploited the tone of comic surrealism kaffir that made us feel sick with the best joke of The Avengers (Joss Whedon, 2012) and in which Loki himself is involved.
Such was his mark on the followers of the Marvel Cinematic Universe that, in addition to the corresponding GIF, there is a very funny nod to it in Thor: Ragnarok (Taika Waititi, 2017). Not forgetting his minor contribution to bureaucratic satire, of which Asterix and the twelve tests (René Goscinny, Albert Uderzo and Pierre Watrin, 1976) and Beetlejuice (Tim Burton, 1988) are great milestones.
Delving into Loki’s ambiguity
The decision to start with the Avengers: Endgame movie sequence (Joe and Anthony Russo, 2019), reassembled for greater agility, in which Loki’s story originates is not without logic but may be questionable. They have lost the opportunity to offer us some first really forceful images.
Fortunately, this is not the full prologue at all; in an interesting series, not only because it stars one of the most charismatic villains and explains a loose end of the aforementioned film; also because his subject is time travel, and time travel well done is really cool. Although it reminds us more of Legends of Tomorrow (Greg Berlanti, Marc Guggenheim and Phil Klemmer, since 2016) than of Back to the Future (Robert Zemeckis, 1985) or Predestination (Michael and Peter Spierig, 2014).
In Marvel Studios’ Loki, the fickle villain Loki (Tom Hiddleston) reprises his role as the God of Deception in a new series that takes place after the events of Avengers: Endgame. Kate Herron is directing it and Michael Waldron is the main screenwriter.
See Loki on Disney Plus
In Loki, on the other hand, they have the grateful opportunity to delve into the motivations of the god of deception and the antics, something essential due to the obvious ambiguity that has been shown in almost all his appearances until the peak of his insistent swings in this regard during the first sequence of Avengers: Endgame.
Getting on the hump of Marvel’s epic past
Tom Hiddleston is adequately accompanied by Owen Wilson (The Grand Budapest Hotel), whom we see in his sauce as the agent Mobius M. Mobius, Gugu Mbatha-Raw (The truth hurts) in the shoes of judge Ravonna Lexus Renslayer or Wunmi Mosaku (Lovecraft Territory) interpreting to Hunter B-15. And Eugene Cordero (Kong: Skull Island) plays Casey, a guy close to Asif Ali’s Norm in WandaVision. And the soundtrack of Natalie Holt (Knightfall) has a certain hallucinatory touch that suits her very well.
But the fundamental thing about Loki is his indeclinable plot in which we finally surpassed the limit in magnitude of the Infinity Saga; and Michael Waldron achieves it the only way he could without losing his narrative dignity by vain efforts. Get on the hump of the epic past of these superheroes; with a brutal counterpoint and a perspective that changes the dimensions of his adventures and his destiny.
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And, when everything seemed obvious in “Glorious Purpose” (1×01), a correct presentation chapter in which the pace is not overwhelming. The only accessory mystery that had been raised turns into something truly attractive with convoluted possibilities. More to the Lost (JJ Abrams, Damon Lindelof and Jeffrey Lieber, 2004-2010) than to the Dark (Baran bo Odar and Jantje Friese, 2017-2020), and our wish is that they take advantage of them without restriction in Disney Plus.