With a bunch of Loki connections already revealed in the trailers, Deadpool & Wolverine is going to be a treat for fans of the hit Disney+ series. Now, one character is reportedly appearing in Deadpool’s latest raunchy adventure.
Deadpool & Wolverine, due out in theaters on July 26, sees Wade Wilson (Ryan Reynolds) and Logan (Hugh Jackman) teaming up to stop Cassandra Nova (Emma Corrin) from wreaking havoc in the multiverse. The two team up after being recruited by Agent Paradox (Matthew Macfayden) of the Time Variance Authority, which oversees the flow of time.
The film’s first connection to Loki is obvious: the TVA. First introduced in Loki season 1, the TVA is a vast bureaucracy that exists outside of time. In season 1, the TVA is dedicated to deleting errant timelines that branch off of the Sacred Timeline. When Loki inadvertently starts a new branch by stealing the Tesseract, he’s arrested by the TVA and then recruited to help stop a dangerous variant of himself. In season 2, the TVA pivots to protecting the infinite branches of the multiverse from variants of He Who Remains, a.k.a. Kang the Conqueror.
Another possible connection to Loki is only rumor at this point, but it would be a fun addition: President Loki, a Loki variant loosely based on the comic book series Vote Loki, is rumored to play a role in the film.
One TVA agent, Hunter B-15 (Wunmi Mosaku), is pivotal to both seasons of Loki. In season 1, she captures Loki and brings him into custody. In season 2, she helps Loki and Mobius (Owen Wilson) bring stability to the multiverse and fend off Kang variants. In fact, at the end of the series, it’s hinted that she rises to a leadership role in the TVA.
Now, Mosaku may be returning to the role of B-15 in Deadpool & Wolverine.
Sources say Hunter B-15 will be in Deadpool & Wolverine
(Disney)
Yesterday, The Cosmic Circus reported that according their sources, Hunter B-15 will “have a brief role” in the film. The outlet didn’t provide much more detail than that, but if Marvel stays true to form, the role could possibly be a short cameo on par with Valkyrie’s appearance in The Marvels. That’s just speculation on my part, though. Plus, the report doesn’t necessarily mean the cameo will happen. The source could be wrong, or the film could go through last-minute edits.
Still, B-15 would be a welcome addition to the cast, especially since her character is so important to the new and improved TVA. If Deadpool & Wolverine takes place after Loki season 2, then it would make sense to show her helping to lead the TVA’s new mission.
(featured image: Disney+)
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Sophia Di Martino wears a lot of hats—and horns. As Sylvie in Marvel Studios’ Loki, she’s the Goddess of Mischief and the person responsible for unleashing the multiverse. In her work behind the camera, she’s a writer, director, and occasional eater of film stock.
The Mary Sue recently sat down with Di Martino to talk about Sylvie’s past, present, and future, along with her work in horror films and the double standards she faces as a working mom.
Sylvie’s connection with Loki and others
Di Martino says she was surprised when she learned what Sylvie’s next move would be after the end of Loki season one, when she told producer Kevin Wright that she figured Sylvie would be hungry after killing He Who Remains. “I was like, ‘Oh, they took that literally!’” she laughs, recounting how Sylvie shows up at a McDonald’s. “Be careful what you say!” She jokes that if Marvel gets in touch with her about future projects, she’ll tell them she wants Sylvie to relax on a Caribbean island with a cigar.
But despite the burger grease, Loki season 2 gave her a chance to explore Sylvie’s guarded nature. “She’s always making friends in a transactional way,” she says. “There’s always a counter in between [her and the people she knows]. It’s safe for her. She knows they’re not going to hurt her. She knows she’s not going to have to kill them. It’s interesting how it parallels He Who Remains being behind his desk, and she moves it out of the way to kill him.
“That’s the tragedy of Sylvie,” she says. “She knows she can never be truly content.”
We also spoke about a hot topic in the Loki fandom: Sylvie’s fraught relationship with Loki himself. “They’re variants of each other,” Di Martino says, “so we always came from the school of belief that they’re the same being, and that series 1 is a story about self-actualization and self love. All the romance stuff is a cool theory, but it’s not something we ever truly followed. It’s more about how [Sylvie and Loki are] going to be connected forever.”
Sylvie’s punk rock look
Sylvie is a physically tough character, and Di Martino shares that she would do fight choreography in the bathroom to get ready for scenes. “Sylvie’s a badass, and she’s a bit punk,” she says. “You’re never going to see Sylvie in a pair of high heels.”
That badass-ness comes out in Sylvie’s choice of clothes in season 2, from a sleeveless shirt to the safety pins in her armor. “In series two, she’s sort of having a bit of an identity crisis,” Di Martino says. “You know when you grow up and move out of your parents’ home, you have that moment where you’re terrified of the real world, and you’re quite aggressively trying to find out who you are? You try all this new stuff. You get pierced, or tattooed, or you dye your hair pink. I did all of the above. It’s Sylvie’s way of trying to figure out who she is and who she wants to be.”
Sophia Di Martino on motherhood
During Loki season 1, Di Martino shared an amazing aspect of her costume on social media: two zippers that allowed access to her nursing bra, so that she could feed her baby and pump milk on the job. But like other mothers—myself included—Di Martino found being a working mom to be incredibly difficult. “It’s the hardest thing!” she says. “No one can ever prepare you for how hard it is! But everyone was super supportive, and I’m lucky that I have a job where they help you as much as they can.”
During our talk, she also included a sobering reminder for journalists, including me: while mothers are often asked about how they manage their job and their kids, men are rarely asked the same questions.
“The Lost Films of Bloody Nora” and other directorial work
Along with her work onscreen, Di Martino is also a writer and director. One short film, “The Lost Films of Bloody Nora,” is a foray into horror, with a girl named Nora (Di Martino) finding a camera but dying after she eats the film she makes.
The film was the result of creative play and a lucky find. “My brother in law found a camera on the train—he worked on the train lines—and he gave it to me because he knows that I like old cameras and film,” Di Martino says. “I thought, ‘I’m going to shoot something on this.’ Then I bought some costumes, and [the film] just came from getting dressed up. I have a huge costume box in my house and we do a lot of dressing up and coming up with weird little characters. The creative process is probably quite weird!”
You can check out the full interview in the video above!
(featured image: Disney+)
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Finding Loki’s glorious purpose finally came full circle at the end of Loki season two in ways perhaps the God of Mischief turned God of Stories couldn’t have imagined. Tom Hiddleston discussed his 14-year journey as Loki on a recent Jimmy Kimmel Live! appearance, during which Kimmel asked if it’s really the last we’re seeing of the iconic Marvel anti-hero.
What Did the Actors Bring to Their Back to the Future: The Musical Performances?
Hiddleston has said goodbye to Loki before with deaths that didn’t quite stick—including Avengers: Infinity War, which turned out to be a variant death. But the Avengers-era Loki who made a break for it in Avengers: Endgame ended up being the Loki we followed in the Loki series. So, is this the end for Loki? “I don’t know, I really don’t know,” Hiddleston told the host, who asked if he was contractually lying (I don’t count him out for Deadpool & Wolverine, to be honest). He added, somewhat cryptically, “I know that we’ve reached some sort of narrative conclusion with season two, which feels very satisfying to me.”
Loki’s redemption as the glue that literally holds the multiverse together as the God of Stories might mean he can only exist outside of the timeline, sure—but is that proof that Loki is a full-fledged hero now, considering the villainous start of his journey? (I mean, is the Battle of New York still hard to give him a pass for?) Hiddleston thinks so. “I’m aware that he’s made some interesting choices, which could be accumulated into a picture that looks like he’s a villain, and once upon a time, he was making some misguided choices,” he shared. Anyone who has followed Loki on the Disney+ series knows he went through a huge multiversal ass-kicking and ego breakdown, what with having to learn how to fix time and everything in the multiverse over the course of hundreds of years and the loss of everyone he knows—ultimately saving many more people than he carelessly unalived in Avengers.
Hiddleston continued. “You know, trying to take over New York and the Avengers having to assemble to stop him, that was a bad day in the office,” he said, comparing it to the grand scheme of his destiny weighted bymore burden than glory. “I’d like to think that, you know, 14 years later, he’s making some slightly more generous, loving, and heroic choices.”
Do you think Loki’s sacrifice to save everyone in the end has earned him a place in the pantheon of Marvel heroes? Let us know in the comments below.
Happy Valentines Day, you lovely nerds! io9’s favorite tradition on this most romantic day is back, with another round of pop culture gag cards to send to your sweetie from some of the last year’s highlights in sci-fi, fantasy, horror, and more. As always, our thanks to G/O Media art director Vicky Leta for bringing our punny missives to life.
You don’t have to be a diehard Sylki shipper to notice that something felt off in Loki season 2, especially when it came to the series’ female characters. Now, one viewer has compiled data indicating that it wasn’t just our imaginations.
Loki season 1 introduced four powerful new female characters to the Marvel Cinematic Universe. Sylvie (Sophia Di Martino), a variant of Loki who’s determined to destroy the Time Variance Authority, ends the season by singlehandedly unleashing the multiverse. Ravonna Renslayer (Gugu Mbatha-Raw) and Hunter B-15 (Wunmi Mosaku) are fierce TVA loyalists trying to protect the Sacred Timeline. Miss Minutes (Tara Strong) is a cheerful A.I. with a sinister side. The season also had great minor female characters, like Hunter C-20 (Sasha Lane).
In season 2, though, the gender balance didn’t feel as healthy. Although the season introduced one new female character, Judge Gamble (Liz Carr), the women in the series seemed to be overshadowed by male newcomers O.B. (Ke Huy Quan), Brad Wolf (Rafael Casal), and Victor Timely (Jonathan Majors), along with Casey (Eugene Cordero), who was promoted to a series regular.
Sylvie’s character felt particularly sidelined. Although I held out hope until the very end that the season was leading up to something really interesting for her, when the season concluded, Sylvie felt more like a foil for Loki than a character in her own right. The romance that begins in season 1 never goes anywhere, and the season finale’s battle in the Citadel even contains a problematic trope: Loki and He Who Remains (Jonathan Majors) both make Sylvie freeze and disappear so they don’t have to deal with her while they talk about the fate of the timeline.
All in all, the series just didn’t seem to care about its female characters. And now there are numbers to prove it.
On X (formerly Twitter) and Reddit, a user named Elyse (@shoalsandsuch) read through episode transcripts and totaled up the number of words spoken by each character. Elyse then visualized that data into charts and graphs. Here’s one of Elyse’s starkest findings:
On the whole, from Season 1 to Season 2 female dialogue decreased by 25% (1509 words) while male dialogue rose 22% (3083 words) pic.twitter.com/CJgt1dxkMl
“On the whole,” Elyse writes, “from Season 1 to Season 2 female dialogue decreased by 25% (1509 words) while male dialogue rose 22% (2038 words).” The character who loses the most dialogue is, unsurprisingly, Sylvie, with her word count falling by 1103 words. In terms of screen time, Elyse explains in the intro to the Reddit thread that Sylvie’s season 2 screen time is half of what it is in season 1.
Welcome back to more needlessly in-depth data break downs about #Loki , this time looking at words spoken!
Starting with a comparison of Seasons with reoccurring characters.
In terms of net loss, the highest decrease in words spoken across seasons was Sylvie (-1103 words) pic.twitter.com/6NoZ0m1xej
Of course, the data has complicating factors, too. For instance, Elyse found that Loki’s own screen time dropped by about 45 minutes in season 2. And it’s important to remember that despite Loki’s genderfluidity in the comics and his TVA file, the series has no actual genderfluid or nonbinary characters that we know of.
“I was inspired to do this work largely by my background in research on comic books and gender representation,” Elyse told The Mary Sue. “I’ve found that having quantifiable numbers can help in appreciating abstract issues like gender representation.
“My hope in sharing the data was that people who felt like female characters were underserved by the season got a sense of affirmation being able to see that there was definitive data supporting those feelings,” Elyse explained, “and that people who may have been dismissive towards concerns about gender representation in season 2 or just hadn’t thought about it could see that there is actual evidence demonstrating the issue.”
I should note that I haven’t verified Elyse’s data. However, Elyse explains her methodology in the Reddit thread, so anyone with the time and inclination can repeat the experiment.
The larger point here is that film and TV, especially comic book and superhero media, have always had a problem when it comes to gender representation. You can head over to Reddit or X to take a look at some of the other statistics Elyse compiled, but here’s hoping that someday, threads like these won’t be necessary.
Check out “Loki,” the thrilling Marvel Studios’ series, at a screening and conversation with the stars!
Monday, January 29, 2024 5:59PM
ABC7 wants to send you to the the nation’s premiere TV festival, Paleyfest LA!
Six lucky winners will receive a pair of VIP tickets to see Marvel Studios’ “Loki” at the Dolby Theatre on Saturday, April 13 at 7 p.m.
The event features an episode screening, conversation with the stars and Q&A with the audience.
Presale tickets for PaleyFest LA go on sale to Paley members Tuesday, January 30, 2024, at 9 a.m. PDT at paleycenter.org. Tickets go on sale to the general public on Friday, February 2, 2024, at 9 a.m. PDT
Ticket giveaway open to residents of the KABC-TV DMA who are at least 18 years of age. See Official Rules here.
Now that Marvel and Disney have fired Jonathan Majors from his role as Kang the Conqueror (and his many variants), the studio must pivot their plans for the future of the MCU. The studio has two options: recast Kang or pick another Marvel villain to topline the Multiverse Saga.
And while the upcoming Avengers film Avengers: The Kang Dynasty has been retitled to simply Avengers 5, there is a way to salvage Kang as a character. Season 2 of Loki offers an elegant solution to Marvel’s Kang quandary: cast Ravonna Renslayer (Gugu Mbatha-Raw) as the new Kang.
In season two of Loki, we learn that Ravonna used to rule the universe by He Who Remains’ side. Miss Minutes reveals that Ravonna commanded troops in the multiversal war. After HWR took control, he booted Ravonna to the TVA and wiped her memory. Ravonna has a long and complicated romantic history with Kang in the comics. She sacrifices herself to save him and ends up in a coma. She later killed Kang for focusing more on defeating the Avengers and conquering the universe than trying to save her.
So why not reveal Ravonna as a secret Kang variant? She’s just as capable, ruthless, and mercenary as Kang. Loki spends a lot of time on the relationship between Loki and Sylvie, two variants of the same character who challenge and complement one another. Why can’t the same be true of Ravonna and HWR? Mbatha-Raw is a charismatic and compelling actress who is more than up to the challenge.
Which brings me to my next point. Loki the series has never really known what to do with Ravonna. She’s mostly used to move the plot along and is mostly wasted in season 2. Even when she goes rogue and tries to take over the TVA (murdering a slew of employees in gruesome fashion), her story is still demoted in favor of the impending time loop collapse. Ravonna is pruned and lands in the Void, where she is approached by Alioth. Since we’ve seen characters escape the Void before, it’s easy to imagine Ravonna doing the same and returning to the Citadel at the End of Time.
Elevating Ravonna Renslayer to the MCU’s Big Bad would be a great use of Mbatha-Raw’s talents. And it would be a welcome change of pace for Marvel.
In the trailers for Marvel’s What If…? season 2, Disney+ gave us a glimpse of a massive Easter egg: the World Tree, or Yggdrasil, from the series finale of Loki. But what does it mean? Why is the tree in there? Here’s what we know!
Major spoilers for What If…? and Loki ahead!
What is Yggdrasil in Loki?
Before we get to What If…?, let’s talk about Loki. At the end of Loki season 2, Loki breaks the temporal loom that’s holding the multiverse together. (At least, I think that’s what it’s doing. The show never really explains why Loki and company can’t just turn the loom off or something, now that He Who Remains isn’t confining time to a single timeline anymore.) After the loom is destroyed, the timelines start dying, and Loki revives them with his magic. He changes the timeline into a tree, as a nod to the World Tree from Norse mythology. (Here’s our full rundown of Yggdrasil.)
But Loki pays a heavy price for his actions. He ends up trapped inside Yggdrasil, doomed to keep the multiverse alive by himself for the rest of eternity.
Yggdrasil appears in the season 2 finale of What If…?
In the trailer for What If…? season 2, we get a quick shot of Yggdrasil decked out in Christmas lights. The actual shot in the series isn’t as festive, but it does have huge ramifications for the Marvel Cinematic Universe.
At the very end of the season, Uatu the Watcher (Jeffrey Wright) shows Carter an image of the multiverse—and it’s in the form of Loki’s tree. Is Loki in there? He must be!
However, no one in the show comments on the trickster god sitting in the middle of the multiverse. Instead, the appearance of Yggdrasil in What If…? season 2 seems to just be an acknowledgment that Loki season 2 changed the nature of Marvel’s multiverse.
So are Loki and the Watcher buddies, or…?
With Loki holding the timelines together, and Uatu watching every timeline in the multiverse, it would make sense for the two to be aware of each other’s existence. So what’s going on here? Are they friends? Allies? Rivals? Can the Watcher see inside the Time Variance Authority, if it exists outside time? Can Loki at least get DoorDash from inside that tree? I have questions!
Unfortunately, What If…? season 2 doesn’t have any explicit answers. If we want some clarity, we may have to wait for Avengers: Secret Wars.
The 28th Annual Critics Choice Awards TV Nominations are out for the public to see. It’s that time of the year again, the award season is starting in full force, with some of your favorite series about to get the recognition they deserve for entertaining you throughout the year. Shows like Succession, MCU’s Loki, The Crown, and the widely popular The Last of Us were always expected to make a splash during this season, but there are some underrated series that punched above their weight. Keep scrolling to see the full nominations list.
BEST DRAMA SERIES
The Crown (Netflix)
The Diplomat (Netflix)
The Last of Us (HBO/Max)
Loki (Disney+)
The Morning Show (Apple TV+)
Star Trek: Strange New Worlds (Paramount+)
Succession (HBO/Max)
Winning Time: The Rise of the Lakers Dynasty (HBO/Max)
BEST ACTOR IN A DRAMA SERIES
Kieran Culkin – Succession (HBO/Max)
Tom Hiddleston – Loki (Disney+)
Timothy Olyphant – Justified: City Primeval (FX)
Pedro Pascal – The Last of Us (HBO/Max)
Ramón Rodríguez – Will Trent (ABC)
Jeremy Strong – Succession (HBO/Max)
BEST ACTRESS IN A DRAMA SERIES
Jennifer Aniston – The Morning Show (Apple TV+)
Aunjanue Ellis – Justified: City Primeval (FX)
Bella Ramsey – The Last of Us (HBO/Max)
Keri Russell – The Diplomat (Netflix)
Sarah Snook – Succession (HBO/Max)
Reese Witherspoon – The Morning Show (Apple TV+)
BEST SUPPORTING ACTOR IN A DRAMA SERIES
Khalid Abdalla – The Crown (Netflix)
Billy Crudup – The Morning Show (Apple TV+)
Ron Cephas Jones – Truth Be Told (Apple TV+)
Matthew MacFadyen – Succession (HBO/Max)
Ke Huy Quan – Loki (Disney+)
Rufus Sewell – The Diplomat (Netflix)
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Nicole Beharie – The Morning Show (Apple TV+)
Elizabeth Debicki – The Crown (Netflix)
Sophia Di Martino – Loki (Disney+)
Celia Rose Gooding – Star Trek: Strange New Worlds (Paramount+)
Karen Pittman – The Morning Show (Apple TV+)
Christina Ricci – Yellowjackets (Showtime)
BEST COMEDY SERIES
Abbott Elementary (ABC)
Barry (HBO/Max)
The Bear (FX)
The Marvelous Mrs. Maisel (Prime Video)
Poker Face (Peacock)
Reservation Dogs (FX)
Shrinking (Apple TV+)
What We Do in the Shadows (FX)
BEST ACTOR IN A COMEDY SERIES
Bill Hader – Barry (HBO | Max)
Steve Martin – Only Murders in the Building (Hulu)
Kayvan Novak – What We Do in the Shadows (FX)
Drew Tarver – The Other Two (HBO/Max)
Jeremy Allen White – The Bear (FX)
D’Pharaoh Woon-A-Tai – Reservation Dogs (FX)
BEST ACTRESS IN A COMEDY SERIES
Rachel Brosnahan – The Marvelous Mrs. Maisel (Prime Video)
Quinta Brunson – Abbott Elementary (ABC)
Ayo Edebiri – The Bear (FX)
Bridget Everett – Somebody Somewhere (HBO/Max)
Devery Jacobs – Reservation Dogs (FX)
Natasha Lyonne – Poker Face (Peacock)
BEST SUPPORTING ACTOR IN A COMEDY SERIES
Phil Dunster – Ted Lasso (Apple TV+)
Harrison Ford – Shrinking (Apple TV+)
Harvey Guillén – What We Do in the Shadows (FX)
James Marsden – Jury Duty (Amazon Freevee)
Ebon Moss-Bachrach – The Bear (FX)
Henry Winkler – Barry (HBO/Max)
BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Paulina Alexis – Reservation Dogs (FX)
Alex Borstein – The Marvelous Mrs. Maisel (Prime Video)
Janelle James – Abbott Elementary (ABC)
Sheryl Lee Ralph – Abbott Elementary (ABC)
Meryl Streep – Only Murders in the Building (Hulu)
Jessica Williams – Shrinking (Apple TV+)
BEST LIMITED SERIES
Beef (Netflix)
Daisy Jones & the Six (Prime Video)
Fargo (FX)
Fellow Travelers (Showtime)
Lessons in Chemistry (Apple TV+)
Love & Death (HBO/Max)
A Murder at the End of the World (FX)
A Small Light (National Geographic)
BEST MOVIE MADE FOR TELEVISION
The Caine Mutiny Court-Martial (Showtime)
Finestkind (Paramount+)
Mr. Monk’s Last Case: A Monk Movie (Peacock)
No One Will Save You (Hulu)
Quiz Lady (Hulu)
Reality (HBO | Max)
BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Matt Bomer – Fellow Travelers (Showtime)
Tom Holland – The Crowded Room (Apple TV+)
David Oyelowo – Lawmen: Bass Reeves (Paramount+)
Tony Shalhoub – Mr. Monk’s Last Case: A Monk Movie (Peacock)
Kiefer Sutherland – The Caine Mutiny Court-Martial (Showtime)
Steven Yeun – Beef (Netflix)
BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Kaitlyn Dever – No One Will Save You (Hulu)
Brie Larson – Lessons in Chemistry (Apple TV+)
Bel Powley – A Small Light (National Geographic)
Sydney Sweeney – Reality (HBO/Max)
Juno Temple – Fargo (FX)
Ali Wong – Beef (Netflix)
BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Jonathan Bailey – Fellow Travelers (Showtime)
Taylor Kitsch – Painkiller (Netflix)
Jesse Plemons – Love & Death (HBO/Max)
Lewis Pullman – Lessons in Chemistry (Apple TV+)
Liev Schreiber – A Small Light (National Geographic)
Justin Theroux – White House Plumbers (HBO/Max)
BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Maria Bello – Beef (Netflix)
Billie Boullet – A Small Light (National Geographic)
Willa Fitzgerald – The Fall of the House of Usher (Netflix)
Aja Naomi King – Lessons in Chemistry (Apple TV+)
Mary McDonnell – The Fall of the House of Usher (Netflix)
Camila Morrone – Daisy Jones & the Six (Prime Video)
BEST FOREIGN LANGUAGE SERIES
Bargain (Paramount+)
The Glory (Netflix)
The Good Mothers (Hulu)
The Interpreter of Silence (Hulu)
Lupin (Netflix)
Mask Girl (Netflix)
Moving (Hulu)
BEST ANIMATED SERIES
Bluey (Disney+)
Bob’s Burgers (Fox)
Harley Quinn (HBO/Max)
Scott Pilgrim Takes Off (Netflix)
Star Trek: Lower Decks (Paramount+)
Young Love (HBO/Max)
BEST TALK SHOW
The Graham Norton Show (BBC America)
Jimmy Kimmel Live! (ABC)
The Kelly Clarkson Show (NBC)
Last Week Tonight with John Oliver (HBO/ Max)
Late Night with Seth Meyers (NBC)
The Late Show with Stephen Colbert (CBS)
BEST COMEDY SPECIAL
Mike Birbiglia: The Old Man and the Pool (Netflix)
Alex Borstein: Corsets & Clown Suits (Prime Video)
Immortal Thor #4, written by Al Ewing and drawn by Martín Cóccolo, is out in comic book stores, and it continues the audacious story of Thor’s battle against gods even more ancient and powerful than he is. But Thor’s got allies, and he’s not afraid to recruit them!
Spoilers for Immortal Thor #4 ahead!
In Immortal Thor, Thor faces an uber-god named Toranos. Toranos is from Utgard, “the shadow-lands, home to those who sit above even the Gods,” and he immediately proves to be far too powerful for Thor to face alone. After Loki preps Thor on a far-off planet through a series of labyrinthine tests, Thor decides to form a team. His first pick? Ororo Munroe, a.k.a. Storm of the X-Men.
Storm is, of course, a natural pairing for Thor, since they’re both storm gods. Immortal Thor isn’t their first team-up, but it’s still fun to watch them banter, especially since Ororo isn’t too pleased at being abruptly summoned to help fight Thor’s battle. (She softens up when she sees what they’re actually up against.)
But Storm is only part of Thor’s—and Loki’s—plan. While Thor is talking to Ororo, Loki recruits Beta Ray Bill, the alien hero capable of wielding Thor’s hammer, Mjolnir. Once the four of them are together, Jane Foster shows up in her guise as Valkyrie—and is transformed back into the iconic Mighty Thor. At the end of the issue, we finally see what Thor is up to: he gives each of his allies the power of Thor, turning them into temporary thunder gods. He’s created the Thor Corps!
Myths are the best when they feel mythical
What’s great about Immortal Thor—and Marvel’s Asgardian storylines in general—is that it has the feel of a modern myth. The stakes are colossal without feeling artificial. The story has an elevated, timeless quality to it, even as the characters trade modern-sounding quips. Plus, thanks to issue 1, we know that Toranos isn’t Thor’s final challenge. Back in Utgard, Utgard-Loki is waiting to strike.
It’s interesting that Immortal Thor is running as Loki season 2 wraps up, since the Loki finale also had a weighty, mythological feel to it. (Spoilers ahead!) Why does Loki turn the Sacred Timeline into Yggdrasil? How is he able to revive the timelines with only his magic and his bare hands? Why does he have to lock himself away in order to save the multiverse? Because he’s a god, and that’s how myths work. Even (or especially!) when they seem to operate according to dream logic, myths and legends are a pleasure to experience again and again.
Immortal Thor #5 comes out on December 13th, so we’ll get to see the Thor Corps in action.
Ian is joined by Musa Okwonga and Ryan Hunn to chat about the return of the Women’s Champions League, which saw great wins for Ajax, Lyon and Barcelona and two very controversial decisions during Real Madrid’s 2-2 draw with Chelsea (04:59). Then, following last week’s Loki Season 2 finale, they dive into a long discussion about one of Ian’s favourite TV shows (12:32), the highs, the lows, the lessons and much more!
Host: Ian Wright Guests: Musa Okwonga and Ryan Hunn Producers: Ryan Hunn, Roscoe Bowman and Jonathan Fisher
SPOILER ALERT: This story includes discussion of major plot developments on “Loki,” which is currently streaming on Disney+.
Roughly 20 minutes after the news broke that the 118-day SAG-AFTRA strike had concluded, the first email I received from an actor’s publicist was for Ke Huy Quan. That’s how enthusiastic the recent Oscar-winning star of “Everything Everywhere All at Once” was to talk about his role on “Loki,” the Marvel Studios series for Disney+ that just wrapped up its second season. When he signs on to our Zoom chat for the interview, his face is beaming.
“I’ve waited a long time to talk about ‘Loki,’” he says. “Like, talking to you right now gives me a lot of joy.”
Quan plays Ouroboros, or “OB,” the head (and seemingly the sole employee) of the Repairs and Advancement Department of the Time Variance Authority — basically, the one person responsible for keeping the TVA’s machinery running. Quan is the most high profile new addition to the cast, which includes Tom Hiddleston in the title role and Owen Wilson as the TVA operative Mobius, and he was anxious at first about joining such a well-regarded show for its second season.
“They already have this camaraderie going on, this beautiful relationship,” he says. “So coming in, I was a bit intimidated. I didn’t know how I would fit in. From the get go, I felt this warmth, this beautiful acceptance with everybody’s wide open arms. They brought me in, and I felt right at home. It was wonderful.”
Quan rarely stops smiling as he talks about how his performances as a child in 1984’s “Indiana Jones and the Temple of Doom” and 1985’s “The Goonies” informed his experience making “Loki,” how Marvel Studios’ films took him back into his childhood — and how Hiddleston guided him through mastering O.B.’s dense technical dialogue.
How has it been for you to not be able to talk about this performance?
When I got the role of Ouroboros, we were in London for four months shooting and I couldn’t tell anybody. I couldn’t tell my family. The only people who knew was my wife, my entertainment attorney — which is my “Goonies” brother — and my agents. We had the most amazing time, and I was so proud of it. I would fantasize about being all over the place with Tom and Owen and my “Loki” family to talk about it.
And then all of a sudden, Hollywood shuts down. It reminded me of when I got the movie of a lifetime, “Everything Everywhere All at Once,” I finished that with one day to go, and the entire world shuts down [in the pandemic]. But of course, the strike was very important for our union. I’m very proud of the work that they did. And I’m also super happy now that it’s over and “Loki” gets to have the celebration it deserves.
I want to go way back to “X-Men,” because you worked on the stunt team on that movie after you’d basically stopped acting, and that’s when you first met Kevin Feige.
Ah! He was an associate producer at that time, and I was just an assistant action choreographer. It was right after I graduated from USC Film School. I was really nervous, because I didn’t know if I would have a career behind the camera and I was really grateful when I got the call from Corey Yuen, who was the action director on “X-Men.” When I walked on set, I was just blown away. I met this young man and he had this vast knowledge of this universe, and he was so willing and so passionate to talk to me about it. Because I didn’t know a lot about Marvel. I loved Kevin Feige right away and, of course, many years later, when he became this huge producer at Marvel, I always wanted to work with him, but I didn’t know in what capacity. We would see each other once in a long while. Little did I know that 23 years later, we get to work together. I’m just so thrilled.
Did you develop a better sense of Marvel after you worked on “X-Men”?
Well, I was very focused on being on being the action choreographer. When that movie was over, I went on and did other stuff. It was not until Kevin Feige made the first movie, “Iron Man,” and I went to see it and I was just blown away by how entertaining, how fun, it was. I watched every single [Marvel Studios] movie that came out thereafter and became a huge fan of this universe. I know a little bit about this universe, but I can’t say I’m as knowledgeable as Kevin. But I really enjoy these movies. My family are huge fans.
What made you excited to watch them?
I grew up in an era where you go into movies like “Back to the Future,” “Indiana Jones” — all those fun summer blockbuster movies, those big event movies. Those were my happy memories. Going to watch a Marvel movie reminded me of my childhood. Those movies are meant to be shared with a mass audience, that communal experience in a movie theater with 1,000 people. I just love them.
“Loki” head writer Eric Martin told me that he based Ouroboros on family members of his who were tinkerers. How did you develop a character for yourself? What did you draw off to bring that character to life?
When I first read the script, I instantly fell in love with Ouroboros. You can see who this character is right away — his quirkiness, his humor, his passion for his job jumps right out of the page. In the process of trying to fine tune how I want to play him, something dawned on me. I realized that this character is familiar to me. I think I know who he is. I have to go back 35 years ago, when I play Data on “The Goonies.”
So many fans have come up to me, and the most asked question was, “Will there be a ‘Goonies 2’? And what is Data doing as an adult?” This character of Ouroboros is kind of my answer to that. I view him as a variant of Data. What’s really interesting is, on my first day, I’m in full hair and makeup and costume. I’m walking to the Ouroboros set. They built this amazing set on the second biggest stage at Pinewood Studios. I look up and I see the name of the stage is “Roger Moore.” Now as we all know, Data loves James Bond. The character 007 inspires him tremendously. So I feel like there’s some cosmic connections to this character and Data. Playing him was one of the greatest experiences I’ve had.
OB has a lot of technical dialogue. How did you master that?
It was hard! Adam, I’m telling you, it was not easy! In the beginning, I kept messing up my lines. My character is responsible for a lot of the exposition. So it would just be pages and pages of dialogue. I didn’t understand, what is the “temporal loom”? What is the “throughput multiplier”? I could barely say it in the beginning. I had to ask [executive producer] Kevin Wright: “You have to show me what it is.” I have to visualize it in my head in order for me to say this dialogue. So he showed me visuals. There was a miniature model of the temporal loom.
I even asked Tom Hiddleston. In Episode 6, he was just spitting out that dialogue at 100 miles per hour. I was blown away by his performance. I said, “Tom, how do you do that?” It comes so naturally for him. He talked about his method. He showed me how to do it. And of course, you know, I practiced it, and it worked.
What did he teach you?
Well, I mean, there’s no secret to it. It’s really looking at the dialogue and reading it very, very slowly the first few times, and then as you become more comfortable with it, then you start picking it up. It’s just that repetition, but start very slow. I do the opposite. I jump right in and I’ll practice it as if I will be saying it in camera. But his process is just start very slow and familiarize yourself with every single word. That’s the method that I’ve been using ever since.
After having seen every movie in the MCU, what was the experience of stepping inside one of their projects?
One thing that really surprised me was, when I heard people talk about these movies, they always said, you know, “There’s always a lot of visual effects, a lot of blue screens.” On “Loki,” it was a practical set. Everything was built. The only blue screen that we had was outside the window in the temporal loom chamber. Everything inside was practically built. We could touch it, we could see it, we could step on it. And it was incredible. It also brought me back to the days when we shot “Goonies” and “Indiana Jones.” All those were practical sets as well.
The season ends with Loki becoming the god of stories and in effect sacrificing himself to bring order to the multiverse. What did it feel like to be on the inside of that revelation?
We didn’t get access to Episode 6 until later on. When I read it, I was blown away, because it was not the direction I was expecting. I got so emotional because the character arc of Loki is one of the most beautiful arcs I’ve seen in cinema history. He started 14 years ago as a selfish villain, and to end at the Episode 6 of “Loki” Season 2, how he made this tremendous sacrifice without recognition. Nobody knows he did this, except the team. Nobody on the sacred timeline knows that he’s given up his freedom, he’s given up all these wants and needs, to be on that throne and hold everything together. That is just beautiful. I just love it. I just think it’s so poetic and so beautiful. It’s a perfect ending to a perfect character.
How much of an indication has Marvel given you about OB’s future in the MCU?
I haven’t had any conversations. I love OB. I love playing him. It makes me so happy that the audience is responding to this character. When I first got the call from Kevin Feige and he asked me to come join the MCU family, I asked him, “Is this a one-time thing? Or are we going to be able to see more of him?” Because I loved him on the pages. And he says, “Ke, we always give what the fans want.”
So I hope the fans like OB enough and I want to see him in more MCU movies and television shows. We will find out, but no, I haven’t had any discussions with anybody yet.
It’s been a long time coming, but the God of Mischief is officially no more. At the end of the second season of Loki, the Asgardian finally finds his glorious purpose as a deity deserving of a new title: the God of Stories.
Throughout six movies and one live-action TV series since 2011’s Thor, no character in the MCU has had a more significant evolution than Tom Hiddleston’s Loki. He started as a villain, became something of an antihero, and then a full-fledged superhero. But by the end of the Season 2 finale, aptly titled “Glorious Purpose,” Loki has transformed into something beyond such simple narrative archetypes. He has effectively become the multiverse itself, the gatekeeper of all hero’s journeys past, present, and future.
Loki’s 12th and potentially final episode is the culmination of more than a decade of the Asgardian’s appearances in the MCU. It’s at once a satisfying conclusion for Marvel’s flagship TV series and a bittersweet ending for one of its most tragic and beloved characters. The Prince of Lies once desired a royal throne over anything and anyone else, whether that meant hurting his brother, his parents, or millions of earthlings in the process. In “Glorious Purpose,” Loki ascends to a throne at last—it’s just not the one he had once dreamt of.
At the end of last week’s installment, Loki learned how to control his time slipping, turning what was once a problem into a potential solution to save all his friends. He used this new superpower to return to the TVA, moments before the Temporal Loom’s destruction, as he tried to understand what they could have done differently to prevent the disaster. When O.B. suggested that they took too long to even attempt to fix the Loom, Loki entered a time loop of his own making, trying again and again to speed up their process just enough for their mission to succeed. Loki had played with time loops for much of the second season, but with Loki’s emergent mastery of time, the finale takes this narrative device a step further as he creates his own Groundhog Day.
For the beginning of “Glorious Purpose,” Loki retraces his steps over the course of the second season to see how every action can be executed faster, spending literal centuries this way to achieve an optimal sequencing, much to the confusion of his allies. (At one point, Mobius even pulls him aside and asks, “What the shit are you doing?!”) But when they finally succeed in expanding the capacity of the Loom to account for the growing number of branches, they realize their efforts—and lifetimes of Loki’s work—were all for nothing. “The Loom will never be able to accommodate for an infinitely growing multiverse,” Victor Timely explains. And so what starts as a tour through the greatest hits of Season 2 soon extends to the first season, as Loki finally understands that the only way to prevent the destruction of the Loom and the TVA is to return to the moment when Sylvie unlocked the true potential of the multiverse, and stop her from killing He Who Remains.
At the Citadel at the End of Time, Loki finds himself in another futile cycle, trying and failing to save He Who Remains from getting stabbed by Sylvie in each attempt. Only when the TVA’s mastermind pulls Loki out of it, using his advanced time-twisting TemPad to freeze Sylvie in place, does the full extent of Loki’s impossible predicament begin to take shape. He Who Remains paved the road for Loki and Sylvie to find him at the End of Time at the end of the first season, and here, the villain reveals to Loki that everything that has happened since then—from his death to Loki’s time slipping—has all proceeded as he anticipated. All along, the Temporal Loom was just a fail-safe, designed to protect the Sacred Timeline from the inevitable multiversal war and nothing more. Despite Sylvie’s best efforts, free will was never a possibility. “Make the hard choice,” He Who Remains tells Loki. “Break the Loom and you cause a war that kills us all. Game over. Or, kill her, and we protect what we can.”
Beginning with this conversation with He Who Remains, Loki skips backward and forward through time to figure out what he must do, seeking counsel as he comes up with the words to rewrite the story of the entire multiverse. It’s a clever way of revisiting some of the most critical junctures in the series to display how far Loki has come, while also providing the chance for him to have one last chat with the show’s most important characters. At this point, Loki has learned how to transport his body through time and space, and he’s grown powerful enough to dictate time for those around him—much like HWR’s Time Twister. Though it seems as if Loki could return to any moment in the past, with Mobius, he chooses one of their very first conversations, when he was just learning about the existence of the TVA in the series premiere.
Loki picks a moment in time when he was still in restraints and when Mobius was no more than a TVA analyst trying to figure out what made a Loki tick. In some ways, that choice makes this version of Mobius more objective; he has yet to learn about all the lies and deceptions that the TVA was built on, and is still a faithful servant to an organization that prunes every variant and branching timeline without exception.
As the duo sit across from each other in the TVA’s time theater, they decide to skip the rewatch of Loki’s life. Mobius instead tells him a story about an incident involving a pair of Hunters, a thinly-veiled anecdote about himself. Mobius recounts how this Hunter once “lost sight of the big picture,” as he failed to prune a variant because he was just a little boy. Thanks to his hesitation, a couple of Hunters died in the process, and matters would have been even worse if his partner, Ravonna, hadn’t stepped in to intervene. “Most purpose is more burden than glory,” Mobius explains.
By now, it seems clear that Loki’s only option is to kill Sylvie. As Mobius’s story helps frame it, it is the burden that Loki must choose. And so Loki makes one final stop, finding Sylvie at A.D. Doug’s Pasadena workshop from last week’s “Science/Fiction” to tell his multiversal counterpart of the unfortunate reality. For one last time, they debate the need for the TVA, the choice between dying with freedom or living under unjust rule, and their positions of unparalleled power over the lives of everyone in every universe. Sylvie helps him recognize that protecting the Sacred Timeline isn’t enough; for all that she has preached about the necessity of free will, her position finally breaks through to Loki. “Who are you to decide we can’t die fighting?” Sylvie asks him.
Instead of returning to the End of Time, Loki goes back to the Temporal Core, to those familiar final moments before the Loom gets destroyed and the multiverse begins to decay. Rather than playing within HWR’s range of rules, though, Loki chooses his own path. He takes one last look at his friends before setting off to be forever alone, accepting the fate he was most afraid of. “I know what I want,” he says to Sylvie and Mobius. “I know what kind of god I need to be … for you. For all of us.”
The final climactic scene of Loki is a stunning visual sequence backed by an epic score from composer Natalie Holt, whose finest work in the series arrives near the end of this finale. As Loki replaces Victor on the gangway leading to the Loom, his TVA attire disintegrates due to the room’s temporal radiation, with his magic producing an iconic green costume in its place to match his new unofficial title as the God of Stories. A horned helmet manifests on his head, bearing a similar black-and-gold aesthetic to He Who Remains’s Citadel and technology. Loki destroys the Loom, dispersing the branches into the void before him as they begin to decompose. He proceeds to grab these vine-like threads, whole universes crumbling in the palms of his hands, and pulls them together through a portal to the End of Time. And as Loki wraps himself in the branches of the multiverse, imbuing them with his magic all the while, he sits on a solitary throne at his own Citadel, creating a new type of Loom that’s better suited for an Asgardian god: Yggdrasil, the World’s Tree.
Screenshots via Disney+
The 12th episode of Loki serves as the second-season finale, but it’s also something of a creation myth. So much of this season was built on the themes of ouroboros, a snake eating its own tail in an endless cycle of life, death, and rebirth. And as Loki travels from one end of the series to its beginning, two episodes that share the title of “Glorious Purpose,” these paradoxes of time and infinity start to apply to the TV show at large. Was Loki the one who was responsible for pulling his friends—Mobius, B-15, O.B., and Casey—out of their lives to begin with? Was it Loki who created the TVA?
“Glorious Purpose” is the last chapter of a story that finds Loki sacrificing his desires to become a divine being with all the power one could ever dream of, and yet no one to enjoy it with. He has claimed his throne at the End of Time, a purpose of all burden, and no glory. Loki never actually declares its protagonist as the God of Stories, as he becomes in the comics, but it gives him the same fate, on the series’ own terms. Loki has now established a new multiverse for the rest of the MCU to live and grow in, one that is more alive and dynamic than the Sacred Timeline was ever designed to be.
The Epilogue
“Glorious Purpose” effectively ends with Loki restructuring the multiverse into a new type of World’s Tree. But rather than leaving the episode on something of a cliff-hanger, Loki tacks on a few brief scenes to show what happens in the aftermath of the Asgardian’s sacrifice. When Loki destroyed the Loom and took sole responsibility for managing an infinitely-growing multiverse, he all but ended any need for the TVA to continue existing as it had. But in its place, he has allowed a new organization to grow, find a new purpose, and do things a little differently this time.
O.B. has returned to the TVA to reassume his position as its tech expert, rebooting Miss Minutes—who will hopefully not try to kill them all this time—and writing a second edition of the TVA guidebook, with Victor Timely sharing an author credit. Casey and B-15 are both back as well and have received more power in what appears to be a more democratic restructuring of the TVA’s leadership: When they return to the War Room, it isn’t filled with a handful of judges or generals sitting in to debate among themselves, but one that is packed with new faces and more voices to reflect the shift in the organization’s mission and values. One interaction between B-15 and Mobius reveals that at least part of the TVA’s new goal is to monitor the other variants of He Who Remains and prevent the multiversal war from happening.
(In Mobius’s report, he cites an incident with a variant in a 616-adjacent realm that was handled. He’s referring to Kang the Conqueror and the events of Ant-Man and the Wasp: Quantumania, which is thankfully the one time that that movie ever really came up this entire season.)
As for Ravonna Renslayer, whose fate had all been forgotten by Loki since she was pruned in Episode 4, we see her waking up in the Void. Just as Loki did in Season 1, Ravonna now finds herself in an unfamiliar world that exists out of time, facing down the realm’s guardian, the trans-temporal purple entity known as Alioth. It isn’t clear whether this is the end of the line for the former TVA judge or a tease that her story isn’t done quite yet; a shot of a pyramid and a Sphinx could be suggesting a potential connection between her and another Kang variant who appeared at the end of Quantumania, the time-traveling pharaoh known as Rama-Tut.
Meanwhile, the adult Victor Timely is nowhere to be seen. However, we see a young version of him back in Chicago. “Glorious Purpose” returns to that moment when he received his TVA guidebook in “1893,” except when Victor turns around to look at his windowsill, he sees that nothing is there—just the curtain blowing in the wind. In this new reality, Timely’s future is never altered, and instead of being put on a path that could lead him to become the next He Who Remains, the boy simply turns back to focus on making his candles.
Finally, the episode ends with two of the show’s most important characters behind Loki: Mobius and Sylvie. After Sylvie chewed out Mobius in “Heart of the TVA” for never even bothering to look into his past life on the Sacred Timeline, Mobius decides it’s time to leave the TVA and see what he’s been protecting all of these years. With Sylvie at his side, he watches from a distance as his variant counterpart, Don, plays with his two sons on the lawn in front of their home. “Where you gonna go?” he asks her, only to receive a carefree shrug in response.
“You?” she asks.
“I might just wait here for a little bit,” Mobius replies. “Let time pass.”
Sylvie leaves through a Time Door and Mobius is left alone, watching the distant life that he once had. It’s a wonderfully simple moment, as Mobius stands there in blissful peace, with just a tinge of sadness knowing that the family he’s watching is not his. It’s all the more devastating as the camera zooms back out to reveal that Loki is right there watching with him, from another place, at another time, taking solace in the fact that his sacrifice was not in vain. What’s in store for either Mobius or Sylvie in the future is, for once, completely unknown. And that’s the beauty of it.
What’s Next for Loki?
For Loki, the God of Stories doesn’t exactly get a happy ending. But as he watches his friends continue on in their lives with the freedom of choice they’d never had, the episode ends with Loki looking on with a tearful smile, suggesting that it was all worth it.
After all of Loki’s dastardly deeds during his time in the MCU, the Asgardian has finally become a god whom Thor, Odin, and Frigga would be proud of—making it all the more tragic that none of them are around to see him become the person they always hoped he’d become. While Marvel has yet to announce whether there will be a third season of Loki, this certainly feels like it’s the end. Any alternative would be a mistake, for as good as the series has been. Though Season 2 had its ups and downs, it returned Loki to the pinnacle of MCU TV, rivaled only by the lone season of 2021’s WandaVision. With two tremendous season finales, though, Loki has achieved what few of Marvel Studios’ movies or TV series have ever been able to, providing satisfying conclusions to a character’s story that wasn’t whittled down by a messy CGI spectacle or outsized concerns for promoting the next project coming down the pipeline. Loki’s character arc fully realizes his journey throughout the years, and he now holds a position of power in the MCU that not only allows the Multiverse Saga to continue, but also invests it with greater meaning, knowing that the Asgardian is the force that binds it all together.
As head writer Eric Martin sees it, the story of Loki has come to an end—at least as far as this series goes. “We approached this as like two halves of a book,” Martin recently told CinemaBlend. “Season 1, first half. Season 2, we close the book on Loki and the TVA. Where it goes beyond that, I don’t know. I just wanted to tell a full and complete story across those two seasons.”
However, in an interview with Variety, executive producer Kevin Wright shared a different perspective on the character’s future, citing that “the hope” is for Marvel to one day reunite Loki with his brother Thor for the first time since 2018’s Infinity War. “The sun shining on Loki and Thor once again has always been the priority of the story we’re telling,” Wright said. “But for that meeting to really be fulfilling, we have to get Loki to a certain place emotionally. I think that’s been the goal of these two seasons.”
It’s a bit jarring to read the Loki producer saying that the “priority” of Loki is to essentially promote another MCU project, but hey, this is still Marvel Studios, after all. What’s in store for the former God of Mischief, his new responsibility to the MCU’s multiverse, and what Marvel will do about its Jonathan Majors–Kang the Conqueror situation can be dissected another day. For now, it’s time to appreciate a Marvel series that gave its title character a proper ending.
Loki season 2 has proven to be a massive hit on Disney+, coming in with the most-viewed Marvel trailer yet, and over 10 million views after its season premiere. The message is clear: fans want more Loki.
But what will happen after that heartbreaking season 2 finale? Will the story pave the way for the next Avengers film, Avengers: theKang Dynasty? Will it tie into the upcoming Deadpool 3, which is rumored to involve the Time Variance Authority? Or could there possibly be a Loki season 3 in the works?
Here’s what we know!
Loki Producer Kevin Wright is down for Loki season 3—but don’t get your hopes up
In an interview with The Hollywood Reporter, Loki executive producer Kevin Wright was candid about his hopes for telling future Loki stories. Although he was careful not to “reveal” a third season, he was also forthright about his hopes that Loki, and other Marvel shows, could be extended into more than one season each.
How do we do these efficiently, but also so that we can have seasons three, four, five … ? The whole idea of long form is you want these to be sustaining, and I think we’re starting to find that in Loki and deliver on it. So I would certainly love to keep telling stories in this little corner of the universe we’ve made.
However, Wright also told Collider that Loki seasons 1 and 2 are, collectively, a self-contained story with a definite end.
We felt pretty strongly, all of us involved, that Season 2 was about [ending the story that season 1 started], but that there are many other books on the shelf for this character and for this world. But this felt like it wanted to be the conclusion of these great things that we set up in Season 1. We don’t want to constantly leave people with drastic cliffhangers for our finales.
Of course, one producer’s ideas for a story don’t necessarily lead to firm plans. There’s also the fact that Marvel is rethinking its TV strategy on a larger scale, which could theoretically lead to a third season of Loki.
Marvel is rethinking its signature limited series format
After Loki season 2 premiered—and immediately following the end of the Writers Guild of America strike—The Hollywood Reporter reported on the studio’s plans to follow more traditional TV practices for its Disney+ series in the future. That means hiring showrunners who can oversee a show from start to finish, and focusing on longer seasons. In fact, THR states that “the studio plans on leaning into the idea of multiseason serialized TV, stepping away from the limited-series format that has defined it. Marvel wants to create shows that run several seasons, where characters can take time to develop relationships with the audience rather than feeling as if they are there as a setup for a big crossover event.”
Will Marvel apply that new strategy to Loki? It’s impossible to say quite yet—and with more than a two-year gap between seasons 1 and 2, it’s hard to say when a season 3 would even come out—but Loki fans can keep their fingers crossed.
Even if a third season doesn’t come out, though, there are several ways Loki could return to the MCU.
What’s next for Loki in Marvel’s Multiverse Saga?
This section contains spoilers for the Loki season 2 finale.
At the end of Loki season 2, Loki effectively becomes the new He Who Remains, controlling the threads of time from his throne within Yggdrasil. Mobius and the others go off to live their lives while Loki protects all of time from a lonely throne.
In his new role, Loki is a combination of two major iterations of his character in the comics: the God of Stories and Avenger Prime. The God of Stories is the master of narrative and storytelling—a fitting role for someone who controls time. Avenger Prime is a version of Loki who assembles a team of multiversal Avengers.
With both upcoming Avengers films, The Kang Dynasty and Secret Wars, centering on the multiverse, I bet we haven’t seen the last of Loki. In fact, we may not even have to wait until the Avengers assemble. Deadpool 3 will reportedly feature the TVA in its new mission to protect time from Kang, and rumor has it that Loki and Mobius will make appearances. Plus, What If…? season 2 is coming around Christmas, so we may get a little dose of Loki then.
In the meantime, say a little prayer for the new God of Stories. He must be pretty lonely in that golden throne.
This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn’t exist.
San Bernardino police were recently investigating a squatters case at a residence when they made a surprising discovery inside: two baby alligators.
The alligators, which were apparently being kept as pets, were discovered at a home on Santa Fe Street late last month, according to police and local media reports.
The reptiles were initially taken to the city’s animal shelter but, with the assistance of California Fish and Wildlife, they have since been relocated to the Forever Wild Exotic Animal Sanctuary in Phelan, officials said.
“They weren’t kept in the best of conditions, but they’re doing OK,” said Kiah Almquist, the sanctuary’s manager and daughter of founder Joel Almquist. The animals each measured 12 to 24 inches long and were covered in white paint, Almquist said. Keepers are still working to remove the white paint from the animals, heal their dry skin, and put the alligators on a balanced diet of raw meat and “pinkies” — previously frozen baby mice often fed to reptiles.
Loki and Sylvie, named after characters on the Disney+ show “Loki,” are being held in a quarantine environment while the sanctuary raises money to build them a more permanent home. It will likely be years before the babies are big enough to be introduced into the sanctuary’s main pond, which is inhabited by eight adult alligators that each measure about 8 feet long.
Exotic animals like alligators are not allowed to be kept as pets in most cities, including San Bernardino. Nonetheless, it is not unusual for people to keep a wide range of animals in and around their homes.
Almquist said she routinely receives calls asking the sanctuary to accept animals that include alligators, snapping turtles, ferrets and sugar gliders — though the sanctuary is also home to tigers, bears and hyenas. The sanctuary is left to piece together the clues of what happened to the animals, like why the baby alligators arrived with white paint all over them. A Capuchin monkey once arrived who had been fed nothing but candy.
“The sad part is that if [the government] can’t find a place to bring these animals, they have to be euthanized,” she said. And although a baby alligator might seem like an appealing companion, it can become quite dangerous as it grows older and larger.
“When they’re babies, they’re cute. No one thinks anything will happen to them — a bite will be like a little pinch. But when they’re older they do something called a death roll,” in which the alligator bites their prey and then spins around quickly in the water to remove a chunk of meat. “They don’t care that you take care of them. They’re a reptile and they’re going to eat what’s in front of them.”
Owners often release the alligators into lakes and rivers as they get larger, Almquist said, where they out-compete the native species or just pass away. In March, the sanctuary rescued two alligators that had been dumped into a river in Temecula.
As for Loki and Sylvie, Almquist said everyone at the sanctuary is “super excited about them right now.” She invites members of the public to visit the juvenile alligators along with the sanctuary’s more than 200 other animals. The sanctuary charges an admission and the money goes towards the care of the animals, she said.
Last week’s episode of Loki ended with the biggest cliff-hanger of the season. After Loki and his friends at the TVA failed to repair the Temporal Loom in time, the device was torn apart, emitting a blinding light in the process that soon consumed everything in its path. In “Science/Fiction,” Loki emerges from that light to find himself alone at the TVA, with no trace of anyone else left behind. To make matters worse, he begins to slip in time again, with his body apt to disappear and reappear elsewhere at any moment.
With a little bit of help, Loki soon turns his time-slipping problem into a solution that might just save his friends and everyone else, in every timeline. “Science/Fiction” is one of the strongest episodes of the second season, a character-driven departure that slows the show’s recent frenetic pacing and gives the series a chance to reset in myriad ways ahead of next week’s finale. Loki has been moving so fast lately that some of its characters have been lost in the mix, but the penultimate episode takes stock of where they are in their journeys and even answers some questions that have lingered since the very beginning of the series. Perhaps above all else, the fans have finally gotten what they wanted: Mobius on a Jet Ski.
Screenshots via Disney+
In the fifth episode of the first season, Loki left the TVA behind to travel to the Void, introducing a strange new setting that explained the true nature of the organization’s pruning methods. This season’s fifth episode, “Science/Fiction,” transports the audience not to a bold new world, but rather to the past lives of Loki’s friends at the TVA, with Loki again serving as our guide. Mobius, for one, is revealed to be a man named Don who’s living on a branched timeline in Cleveland in 2022. He’s a single father of two children and a salesman of Jet Skis and other action sports equipment. (But mainly Jet Skis, of course.) The most important friend who Loki reunites with, though, proves to be Ouroboros, whom Loki finds on another branched timeline in Pasadena, California, in 1994.
In O.B.’s original timeline, he’s actually a struggling science-fiction writer named A.D. Doug who happens to also be a scientist teaching theoretical physics at Caltech. His love for science fiction means that he not only immediately believes Loki’s nonsensical story about time travel and the TVA, but is also able to get up to speed hilariously quickly to help Loki make sense of the perplexing situation he’s found himself in with this seemingly random time-slipping phenomenon.
“It isn’t random, because you keep ending up around exactly the people you’re looking for,” A.D. speculates. “And it’s evolving, because you’re not just slipping in time, you’re also moving around in space. It’s like you’re a better version of one of those TemPads.”
Like some sort of time-travel guru, A.D. helps Loki turn his time-slipping dilemma into an asset that can be used to their advantage. That process begins with Loki identifying the reason it’s happening to him in the first place. “With science, it’s all ‘what’ and ‘how,’” A.D. continues. “But with fiction, it’s ‘why.’ So why do you need to do this?”
“Why do I need to do this? I’ll tell you why,” Loki replies. “Because if I can’t save the TVA from being destroyed, there will be nothing to protect against what’s coming.”
This framework of “fiction” and stories proves to be the throughline for the entire episode, and the question of “why” turns out to be a crucial step in Loki eventually mastering his time slipping. But this mastery doesn’t come easily. Loki ends up slipping in time again after he gives a copy of the TVA guidebook to A.D. and then reappears at Mobius’s home (or, rather, Don’s home). As Loki struggles to explain to Don the bizarre circumstances of the threat they all face, A.D. emerges with a newly-built TemPad, the construction of which required him to make some unfortunate sacrifices:
(Ke Huy Quan continues to be a delight in this series; his comedic timing here is impeccable.)
It took 19 months, the dissolution of his marriage, and the loss of his job, but A.D. was able to build his world’s first time machine, providing Loki with the tool he needs to get the TVA band back together. Loki proceeds to recruit B-15 and Casey to the TVA’s cause, failing only when it comes to Sylvie, the one person other than Loki who actually remembers what happened at the TVA. The God of Mischief is left rudderless after having a little heart-to-heart with Sylvie at a bar in Broxton, Oklahoma, and just for a moment, Loki gives up on saving the TVA.
It isn’t until Sylvie returns from a spaghettified Broxton that Loki is vindicated in his quest to bring everyone back to the TVA. Soon, A.D.’s workshop receives the spaghetti treatment as well, and Loki finally manifests his ability to control his time slipping, reversing the catastrophic events just enough to revive his friends and explain his breakthrough. “It’s not about where, when, or why,” Loki says to the group. “It’s about who. I can rewrite the story.”
“Science/Fiction” ends with Loki slipping back in time and space to return to the TVA, before the Loom was ever destroyed. He’s given himself a second chance to save the TVA and the dying branches of the multiverse, and with this new ability at his disposal, he might be able to do it. Loki continues to play around with time loops in Season 2, with time slipping reemerging just ahead of the finale. With this discovery transforming Loki into something of a human TemPad, saving the TVA could be just the beginning of what he’s capable of changing.
Past Lives
“Science/Fiction” works so well in part because of the extra time it affords some of the key players in Season 2. As Loki gives us glimpses into the past lives of every member of Team Loki, we can see reflections of the characters they become in the TVA, even after their individual histories and idiosyncrasies are stripped away.
The first character we’re reintroduced to is Casey, in the form of a man named Frank in 1962 San Francisco who’s escaping prison. More specifically, Casey is revealed to be none other than Frank Morris, one of three real-life inmates who escaped Alcatraz in June 1962 after placing papier-mâché heads in their beds, breaking out through ventilation ducts and utility corridors, and using an inflatable raft to navigate their way off of the island. As in the Season 1 flashback that revealed Loki to be D.B. Cooper, the series puts a playful twist on a strange moment in history, adding a bit of science fiction to flesh out some of the unexplained details surrounding the story. Casey’s origins are a bit of an anomaly, in that we don’t see too much of this crafty Frank Mason character in the man we’re familiar with at the TVA, but perhaps that’s unsurprising given how recently Eugene Cordero has emerged as a more prominent member of the cast. (There is, however, a little callback to Season 1 as Frank mentions the prospect of them getting gutted like fish, an analogy that Casey couldn’t wrap his head around when Loki threatened him with it in the pilot.)
As for B-15’s past life, we learn that she was a doctor in New York City in 2012. (That’s certainly an interesting time to be living in New York in the history of the MCU, but the fact that she doesn’t seem to recognize the God of Mischief makes it seem as if the Battle of New York hasn’t happened in this timeline.) The conversations between Loki and Dr. Willis are brief, but in a scene that focuses on the doctor and one of her young patients, we see the same sort of caring and compassionate individual that B-15 has become in Season 2. She has proved to be absolutely terrible at crisis management at the TVA, but her driving motivation to save lives remains the same.
The alternate versions of Mobius and O.B. take on larger roles in “Science/Fiction” than the other supporting TVA members, and their previously-hidden histories can be seen even more clearly in their lives at the TVA. Don’s obsession with Jet Skis has obviously shown through in Mobius, but more enlightening than anything else is the sudden introduction of Don’s two sons. Earlier in the season, “Breaking Brad” teased the mystery of Mobius’s previous life on the Sacred Timeline, and in Mobius’s fierce objection to discovering his history, Loki revealed a more vulnerable side to a typically nonchalant guy who enjoys the simple pleasures of life and cares about the TVA more than anything else. Although “Science/Fiction” illuminates where Mobius’s personality traits come from, it also shows the responsibility and care that he has for his kids, who in another lifetime were everything to him.
(As for O.B., the parallels between his two selves are almost too seamless, with A.D. wasting no time in reclaiming the role as the group’s invaluable tech genius. Production designer Kasra Farahani and his team also had some fun reimagining O.B.’s workshop at the TVA as A.D.’s workspace in Pasadena, as the two locations echo each other across time and space.)
The fact that so much of these characters’ lives stays intact in the jump between realities to their new existences at the TVA complicates what we’ve thought to this point about how everything works at the TVA. Now that Loki has seen each of his companion’s histories, we have to wonder what he’ll do with this newfound information. And more importantly, how will someone like Mobius react if and when he discovers the truth about the life he’s been actively refusing to investigate?
What Makes a Loki Tick?
The driving question in Season 1 was “what makes a Loki tick?” As Mobius recruited the God of Mischief to hunt down another Loki variant, this question came up again and again, as Loki and Sylvie redefined what they were believed to be capable of. “Science/Fiction” takes some much-needed time to reevaluate where both Lokis stand in this regard, and how the latest multiversal events have impacted the people they’ve become.
In Broxton, Sylvie shows a more compassionate side of her character that’s been missing all season, as Sophia Di Martino finally gets the chance to do more than just yell about the need to destroy the TVA or He Who Remains. And for once, Loki is placed in a position where someone else helps him recognize the emotions that are blinding him to the reality of the situation, as Sylvie pushes him to uncover his true motives for bringing everyone back to the TVA. “I want my friends back,” Loki admits. “I don’t want to be alone.”
“See, we’re both selfish,” Sylvie replies. “I know this is hard, but your friends are back where they belong.”
“But without them, where do I belong?” Loki asks.
“We’re all writing our own stories now,” Sylvie says. “Go write yours.”
While Loki’s takeaway—to just give up on the mission—ultimately proves to be the wrong one, the truth of why he’s doing all of this is enlightening nonetheless. The Asgardian’s desire to be loved and accepted was one of the key developments for his character in Season 1. His continued evolution into a full-fledged hero this season has been a bit rushed, but here we see that some of his selfish nature—a character trait that has existed in him since he first appeared in Thor—is still intact, even if it’s ultimately in service of the worthy cause of defending the multiverse. Loki’s overall development seems more well-rounded as we see shadows of his former self shine through while he learns to navigate the complexities of his emotions and relationships.
With this bar conversation and a subsequent scene that depicts Sylvie’s routine of visiting the local record store in Broxton, Loki belatedly dedicates some space to further exploring how and why Sylvie has relinquished any duty to the multiverse in favor of finding peace in the freedom of choice that she’s never had. As Sylvie’s friend Lyle gets spaghettified while Sylvie vibes to the Velvet Underground, we witness the simple life she’s always dreamed of get torn apart before her eyes. It’s a heartbreaking moment reminiscent of the dusty aftermath of the snap in Avengers: Infinity War, and it serves as a reminder of how tragic a figure Sylvie has always been.
The God of Stories
Loki has been known by many names. The God of Mischief. The Trickster of Asgard. The Prince of Lies. In the comics, he also takes on a unique title that stands out from the rest of them: the God of Stories.
This transformation comes within the pages of Loki: Agent of Asgard, a series that started in 2014 and was written by Al Ewing and illustrated by Lee Garbett. In Agent of Asgard, Loki gains the very meta ability to use his magic to manipulate narratives, time, and the fabric of reality. In a very fourth-wall-breaking sort of way, he can then wield the power of stories themselves, rewriting them however he chooses.
Loki: Agent of Asgard no. 13Screenshot via Marvel Comics
These ideas emerge in a major way in “Science/Fiction,” with Loki even vowing to “rewrite the story” as he rewinds the season’s narrative back to before the TVA’s destruction. In the final moments of the episode, just as Loki discovers this new, all-powerful ability, Sylvie’s voice can be heard amid Loki’s disintegrating surroundings. “Do you think that what makes a Loki a Loki is the fact that we’re destined to lose?” she asks.
It’s a question that Sylvie raised in Season 1, and an idea that was repeated by other Loki variants whom the God of Mischief encountered in the Void. Loki has been determined to change that narrative, just as Sylvie has sacrificed just about everything in a quest for free will. And now Loki actually has the ability to control and manipulate time like never before, paving the way for him to become the God of Stories.
There are still plenty of unanswered questions leading into next week’s season finale, including the fates of Miss Minutes, Ravonna Renslayer, Victor Timely, and the rest of He Who Remains’s variants. Now that Loki has gained potentially limitless power, the series will soon test just how much the reformed villain has changed.
A fairly good complaint of Loki season 2 up through episode 4 was that the show wasn’t focused on Loki (Tom Hiddleston). Well, that all changed with episode 5 “Science/Fiction” and for the better.
Spoilers for Loki season 2 episode 5 lie ahead, beware!
For a show called Loki, there were a lot of moving parts that kept him out of the limelight. We had to deal with the branching timelines and the Temporal Loom becoming overpowered. We had new characters to meet. Mobius M. Mobius (Owen Wilson) and Sylvie (Sophia Di Martino) were both dealing with things that were separate from their time with Loki. So when it came down to it, he just wasn’t a focal point. It didn’t mean that Loki wasn’t the main character, it just wasn’t what the show needed to have as a center piece time and time again.
So whenever a complaint would roll in from fans that the show wasn’t about our God of Mischief anymore, we couldn’t really pushback about it. Because it wasn’t. It was about the Time Variance Authority first and foremost. But all of that changed when “Science/Fiction” came into play. Episode 5 really took this idea of the world without the TVA and made Loki the most important figure in it and showed us all that he is who we need to trust.
He is, after all, the God of Stories. Frankly, it was worth the wait to have an absolutely incredible episode of television that gave Loki all the agency in his own story and gave him the ability to bring his team back together completely on his own and in his own time. With the help of O.B. (Ke Huy Quan) of course but it was still Loki and his journey that took us back to the start.
As Coldplay once said, oh take me back to the start
(Disney+)
Loki coming into his powers was great. Watching him take us back to the start of everything to try and fix it was incredible but what really just clicked was knowing that he is in control of it all. Loki should be the star of his own show. To see that he’s the one controlling it? That’s epic. It also fixes the complaint that I also was beginning to side with. Not that I didn’t trust what was happening with the series, I did more than most. But I did wonder what was going on with Loki that we kept seeing him side-lined for other storylines.
Knowing now that it was so he could have this moment, when he gained the power to control his time slipping and control the narrative? To see how the lack of Loki in the first half of the season was all leading up to not only one of the best episodes of the season as a whole but so that we could have such an incredible pay off with it? It just really made it all worth it.
This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn’t exist.
The Midnight Boys return to share their instant reactions to the latest episode of Loki Season 2. The guys discuss Ravonna Renslayer’s rise to main villain of the show (20:00), Loki and Sylvie’s debate of freedom vs. safety (30:00), and the death of Victor Timely (47:00).
Hosts: Charles Holmes, Van Lathan, and Jomi Adeniran Producer: Jonathan Kermah Additional Production Support: Arjuna Ramgopal and Steve Ahlman Social: Jomi Adeniran
Victor Timely’s fingerprints are all over Loki season 2, even when he isn’t. As one of the many versions of Kang the Conqueror, Timely immediately feels important to the second season, even before we know it’s his designs that inspired (nay, created?) the Time Loom. Sure, that was by He Who Remains’ design, but still! As we see from his workshop of inventions and the way Miss Minutes tries to come on to him: Timely’s got the juice!
[Ed. note: This post will now spoil the end of episode 4 in some detail, with some speculation of what’s to come. Ye be warned.]
So it’s kind of surprising when, after all the teamwork and effort and Marvel CGI that got him to the TVA with O.B. to build the magic machine that saved the day, he just… spaghetti’d. In just an instant, Timely turns into noodles, and Loki is left dumbstruck, just wondering what the hell they’re going to do without him, while the audience wonders what the heck Loki will do without him.
Still, this season folding in on itself so much has taught us one thing: This moment might have major implications for the space-time continuum. Timely getting the time-space pasta treatment might mean his existence, life, consciousness, or matter has simply been wibbly-wobblied somewhere else. As such, spaghettified Victor Timely might not be gone — or at least, the narrative might not be done with him. So what exactly could have happened to him? Here are our theories.
Theory 1: Victor Timely’s episode 4 fate creates Kang the Conqueror
Image: Marvel Studios
We know that there are seemingly endless Kangs spread across endless realities, but how did they become… you know, Kang? He comes from the future, so his advanced technology (and his supersuit) can account for many of his powers. And we know he has a genius-level intellect, as shown through Victor Timely’s less-than-timely inventions. But his ability to manipulate time and reality? It’s sometimes attributed to his suit, but I think it’s also a little left open to interpretation.
What if we just saw its origin in Loki? The man was, as many have put it before me, completely and totally spaghetti’d as he approached the Loom and the many different branches of the multiverse. Could his essence have been spread out into the multiverse through the Loom, gaining unexpected powers in the process? Or, even more directly, did this event somehow change the brain chemistry of all other variants across the timelines, due to sheer proximity to those timelines? Could this have been the event that transformed Victor Timely/Nathaniel Richards into Kang the Conqueror? It seems like the kind of thing the MCU would do — they love a grand reveal, after all, and Loki has been asked to be surprisingly load-bearing when it comes to the universe’s next Big Bad. So showing his “origin” of sorts in the series wouldn’t be that much of a stretch. —Pete Volk
Theory 2: Victor Timely is going to go somewhere else in the Marvel Cinematic Universe
Image: Marvel Studios
What little we know about the technobabble of the Time Loom is it’s pulling all the various timelines of the multiverse and getting clogged. But unlike an actual sewing machine, the Loom is just sitting in massive space, pulling in whatever strands get near it. So maybe when Victor turns into strands in the vast vacuum outside the TVA, his remnants just also get sucked up into the Loom, like one giant machine-like wormhole.
From there, Timely could plop out… anywhere! My guess is it doesn’t even have to be anywhere big (or certainly shouldn’t be), like the Battle of New York or the fight against Thanos. It’ll just be a quick little end-credits gag, like the original Guardians of the Galaxy tag with Howard the Duck. Hopefully he lands somewhere he can keep making his little inventions; if not, well, there’s always the next Kang. —Zosha Millman
Theory 3: Victor Timely died!
Image: Marvel Studios
I think he’s dead. Which would seemingly present a problem to the timeline: If Victor Timely is really the Kang who invented the TVA, then he’d need to have not died before he invented the TVA. Perhaps we’re about to see the fallout of that — two climactic episodes in which all TVA employees wake up in their normal lives on the timeline, because there was never a TVA to pull them out of it. Maybe Mobius would finally get to ride a Jet Ski. Maybe he’d have to choose between Jet Skis and putting the TVA back into existence somehow.
But honestly, causality only seems to exist when Loki wants it to, so who knows! If Timely is dead, there are plenty more Kangs to go around. —Susana Polo
Theory 4: Victor Timely is spaghetti now, period.
Photo: Luis Robayo/AFP via Getty Images
My theory is short, uncomplicated, and best summarized through the words of Polygon executive editor Matthew Patches when he’s in dad mode: pasghetti.
That’s right, Victor Timely is not He Who Remains, necessarily, but he is an equally if not even more important variant of Kang: the one who started spaghetti. Inside the walls of the TVA, far outside the bounds of regular time, all spaghetti, and possibly all European noodle shapes in general, were discovered chiefly through the disintegration of Victor Timely. Through his sacrifice, the bright divinity of his newly noodly form will slip into the loom and be dispersed throughout the multiverse, sliding right into the perfect place in each universe’s history to help someone discover the holiest form of pasta sauce delivery: the spaghetti noodle.
Of course, it’s important to remember that Victor is but one man, and his corporeal form is limited by its size, even when stretched by the unstable Loom. This means, tragically, that not every timeline will get to experience the magic of spaghetti. Some lost out on its pasta perfection, because their universe was never delivered a horrifying Cronenberg-esque noodle-shaped piece of a man. But thank God we exist in one that did. —Austen Goslin
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