Summary
Episodes 1 to 4 watched for review. This is a spoiler-free review.
It’s been over two years since everyone’s favorite trickster god of mischief was back on the screen (not counting a brief post-credit appearance inAnt-Man and the Wasp: Quantumania). However,Lokiis making his return this week, though all of the “glorious purpose” he has bragged about in the past is noticeably subdued in the second season of his eponymous series. Instead, viewers are treated to a darker and more sinister look at Loki and the TVA.
That’s not to say there’s no fun to be had at all, but season 2 ofLoki, moreso than the first, blends its chaotic, Douglas Adams-inspired elements with higher stakes and horror-adjacent storytelling and imagery. There’s a fine balance of humor and terror in this latest season, and the talent both in front of and behind the camera sell it all very well.
And it is behind the camera where the biggest changes have taken place. Eric Martin has taken over writing duties from Michael Waldron, and the directing duo of Justin Benson and Aaron Moorhead have been tasked with helming multiple episodes (including the premiere). Benson and Moorhead have worked with Marvel previously,having directed two episodes ofMoon Knight, and their particular flair for surrealism and stylized shooting fitsLokiperfectly.
The premiere episode picks up immediately after season one’s shock ending, with Loki now in a version of the TVA that he does not recognize, and where no one seems to recognize him either. To add another wrinkle, Loki is also experiencing “time slips,” which are magnificently rendered as Loki’s body contorts and seems to melt into itself before he disappears. On top of all of this, mutliple branches createdafter Sylvie (Sophia Di Martino) killed He Who Remainsare threatening to destabilize the entire timeline. Loki and Mobius (Owen Wilson) must work with the TVA’s resident tech guy, OB (Ke Huy Quan, one of this season’s new additions) to stop everything from collapsing in on itself. The pair are also aided by Wunmi Mosaku’s returning B-15.
Along with Quan, the other big new additions to the cast are Rafael Casal and Game of Thrones star Kate Dickie, who take over the more direct villainous roles from Gugu Mbatha-Raw,who also returns as Ravonna Renslayer(along with Tara Strong once again providing the voice of Miss Minutes). Perhaps the most anticipated appearance of the season is that of Jonathan Majors. The star, who has been facing legal troubles, returns to a role that was teased earlier this year, and acquits himself well, showing the range that is required of a character who appears in so many disparate forms.
While the cast is uniformly great, the plot of this season of Loki is somewhat more difficult to follow than it was last time around, with plenty more (in the parlance ofDoctor Who) timey-wimey stuff that doesn’t always make the most sense. However, most of the more tricky plot details can be glossed over as Loki is a show that has always prided itself more on its characters and its general vibe. There’s something of a lull in episodes two and three, with the third being the worst offender of sidetracking the more interesting parts of the show. However, even with the overarching plot being somewhat lost in technobabble, it’s the smaller beats that make everything click.
The real star of the show is its production design,the wonderfully retro-futuristic aestheticthat helped to define the show on its own terms. The main TVA hub is still a wash of deep browns and oranges, evoking the late 70s or early 80s, though now there are some splashes of green and turquoise thrown in with the lower tech-focused areas that give everything a classical industrial look. Combined with the aesthetic are some top-notch visual effects. The quality of how the show looks may be due to an unprecedented choice.In an interview with Variety,executive producer Kevin Wright confirmed that Loki is “the first Marvel series to never have any additional photography.” While other Marvel series and movies have been hurt by a rushed production schedule that has the most effect on the VFX (leading to a unionization push among VFX artists),Lokimanages to look great in all respects. All of this visual splendor is accentuated by Natalie Holt’s wonderfully retro sci-fi, theremin-infused score.
Benson and Moorhead are a perfect fit forLoki, as demonstrated by their previous projects that feature darker sci-fi elements with psychological undertones.As they did with last year’sSomething in the Dirt,the two directors find a way to build suspense and introduce moments of levity through character interactions. The chemistry between Wilson and Hiddleston is as solid as ever, and Quan’s OB fills the role of TVA rule follower, allowing the Kafka-esque nature of the TVA itself to be filtered through Quan’s understated but nonetheless humorous performance. The only drawback to introducing a new character and expanding the roles of others is that Loki and Sylvie’s relationship is forced to take a backseat, with the latter barely featuring in the first episode at all.
Loki’s season 2 is a great reminder of what Marvel Studios can do when it has solid creators, good characters, and an interesting story that can stand on its own. As one of the longest-running characters in the MCU, Hiddleston’s Loki has, rightfully, amassed a fanbase all his own, and while his series could have easily been another throwaway project for Marvel, it has instead managed to carve out a place of its own amongst everything else, with a distinct style and story makingits success comparable toAndor(the Star Wars show that even managed to impress non-Star Wars fans).Loki’s return is a welcome one, and with any luck, fans will be seeing more of the trickster god and the TVA in future Marvel projects. Only time will tell.
LokiSeason 2 premieres Thursday October 5th at 9:00 PM Eastern/6:00 PM Pacific on Disney Plus.
Loki
Loki’s second season starts off strong with the stylistic flair and characterization that made it an instant hit among Marvel fans.
