‘Loki’: Disney + makes clear its bet for the MCU with a series as unpredictable as its protagonist
In the presentation of ‘Loki’, which we attended together with other media from around the world, Marvel boss Kevin Feige gave a hint about how Marvel’s production wheel works: They did not know what would become of Loki’s character in ‘Infinity War’, but they knew it perfectly when they made ‘Endgame’: “one of my favorite things about the movie was people telling us that we had left loose ends with Loki, we had forgotten to say that it was with him. ” But of course they hadn’t forgotten.
Although they were not very clear what would happen to him. They knew they wanted to travel back in time, have Loki, and little else. The final idea came, according to Feige, from Kate Herron herself, director and producer of the series., which introduced the Time Variation Authority, the office created in 1986 in the Thor collection by Walt Simonson and Sal Buscema. With it they managed to find not only the plot key that would make Loki survive, but, seen the first two episodes that arrive this week on Disney +, they also dictated the tone of the series.
And is that the presence of the Time Variation Authority is almost as essential as the figure of Loki himself in defining tone and intentions of this new Disney + proposal around a secondary of the MCU, after ‘Wandavision‘ Y ‘Falcon and the Winter Soldier‘ (Y ‘M.O.D.O.K.‘in a sense, though it’s originally from Hulu). Especially in the first one, since the idea of ”let’s send the heroine to a sitcom“determined the whole development of the series.
In this case, the punch on the table is “a Norse god in an office.” A classic comedy device, mix two antagonistic elements together and see what happens.a, and that here results in a moderately risky series (moderately, we are talking about Disney, not a Bñela Tarr movie), but with the appropriate touches of eccentricity to differentiate itself from the rest of Marvel productions.
Loki: from 9 to 5
In the first two episodes a situation arises that, of course, gives enough to sustain an entire season: Loki (Tom Hiddleston) was not dead or partying, but retained by an agency charged with correcting disruptions in the “good” timeline. With the help of agent Mobius (Owen Wilson) he will try to stop a criminal who is sowing chaos in time, generating multiple alternative lines.
Without a doubt, the great idea of the series is to turn the usual superhero dynamic into a buddy movie procedural. Based on the clash of characters between Loki and Mobius (liar and unpredictable one, formal and strict observer of the regulations the other)The investigation into who’s tinkering with the timelines combines investigation and action (not particularly well shot, by the way) with sheer comedy. The result is balanced and fun thanks to the charisma of the two protagonists, who are accompanied by multiple troupes, such as the wonderful Wunmi Mosaku and Gugu Mbatha-Raw.
The result, for now, is promising and consistent, and has the neat, flawless finish of all Disney productions, a step below movies in terms of luxury and visual excesses, but well above an average Netflix series, for example, and its inevitably television schedules and rhythms. However, it falls into the problem that is already beginning to become obvious in the Marvel series: they are only plot cushions to justify the big events, which will arrive in cinema.
Will this end up becoming a problem? Without a doubt, you have to wait for new series to verify it, but it would be desirable for the Marvel series on Disney + to have sufficient identity so as not to be mere comments at the foot of the page Of the movies. Remember, however, that this first batch of MCU series was planned before Disney realized that it has a very powerful ally in its streaming platform. Who knows if it will not end up being the films that end up becoming pilot episodes for the real highlights on the small screen.