#Studio Herron | Explore Tumblr posts and blogs

timeagainreviews · 5 months ago

Text

Witnessing Greatness

Thinking about the most recent episode of Doctor Who, I find myself reminded of Roger Corman, who died last month. Corman was a producer and director of b-movies and television. He was also beloved by industry titans due to his work ethic and ingenuity as a filmmaker. What made Corman so unique is how he dealt with limitations. If an aspect of one of his films was lacking, he made up for it in other departments. If the effects were bad, the script had to be great. If the acting was hammy, he’d make sure the music gave it strength. Instead of spreading everything thin, he knew that giving a little bit more attention to individual elements would make for an overall better experience. If you’re not firing on all cylinders, make sure the ones that do are firing brightly.

“Rogue,” is an episode with many bright shining points, lighting up the sky of Regency Era Britain. But lost within that light are a few flickering bulbs that could stand to be turned a bit tighter. However, it’s not as though we’re poking around in the dark. Without a doubt, the brightest star in the Whoniverse at the moment is Ncuti Gatwa. In a stand-out performance from a series of stand-out performances, Gatwa has really outdone himself this week and I can’t wait to talk about it. The folks at Bad Wolf Studios have refused to spread things thin, but no story is perfect. For as much as I enjoyed this week’s episode, I didn’t have to reach far to find problems. But when I’m smiling this much, it’s harder to care.

It’s funny how a week ago I said I didn’t like fan theories and then promptly made one. Just as promptly, I am now abandoning that theory. After the trailer for next week’s episode, I no longer think Susan Twist is the Rani. I officially don’t know what I think. I kind of love that. I have seen the rumours of Susan Twist being Sutekh. Maybe the Doctor is in the Land of Fiction. The name S Triad is an anagram of the word TARDIS. Perhaps she’s the original owner of the TARDIS coming to retrieve it. The point is, she could be anyone, and I am not all that worried about it. Why that feels important is that I was often full of dread waiting for Chibnall’s next big reveal. I didn’t look forward to the ways in which he might next waste a concept by not properly exploring it. So being in a place where I am game for whatever feels zen.

Having two new writers this week was a major draw for me. I’ve seen what both Davies and Moffat can do, the good and the bad. This is the first time all season where I felt like we were truly wandering into the unknown. I did watch Loki season one, so I was familiar with Kate Herron’s work, but not as a writer. I was even less familiar with Briony Redman. But like I said, I’m game for whatever. The pair bring a metatextual reading to the Regency Era drama that fits Doctor Who’s brand of camp. I was reminded of Kate Beaton’s satirical comics from her “Hark! A Vagrant” series. “Rogue,” acts as a sort of love-letter to Jane Austen, so it’s only appropriate that they treat it with a playful touch. The Doctor and Ruby aren’t just visiting Bath in 1813, they’re cosplaying Bridgerton. But they’re not the only anachronistic party goers. This bash is about to go to the birds.

Leading up to this episode, an article in Doctor Who Magazine had given us random lines of dialogue from each story, including this one. However, the line “Psychic earrings. Choreography beamed into your motor system. Tap twice to choose your moves. It's like instant Strictly!” left me a bit nervous. We were fresh off of “The Devil’s Chord,” and part of me was wondering if they weren’t suddenly turning Doctor Who into a variety show. I’m joking a little, but I was rather relieved when the line turned out to be about dancing at the Duchess’ ball. The Doctor and Ruby are dressed to the nines in their period appropriate clothing. I love the idea of the Doctor wearing more from his wardrobe as it’s always been fun in the past. Tom Baker’s tartan tam o’ shanter in “Terror of the Zygons,” is one of his most iconic costumes. Ncuti said in an interview that he wanted his costume to make him look like he owned land. It’s a brilliant image to depict when you consider the Regency Era was merely four years away from the abolition of slavery in Britain.

The Regency Era also brought with it a change in men’s attire. Dandies like Beau Brummell popularised a look of comfort and wealth while simultaneously streamlining much of the frills from 18th century fashion. It’s funny to look at the ruffles of a dandy’s attire and consider it anything other than flamboyant, but it was a considerable shift toward more conservative styles. While women’s fashion continued to evolve, men’s fashion stagnated a bit. A standard had been established and you can still see its influence today with the basic suit and tie combo. No wonder the Doctors often dress like variations on Edwardian fashion.

The opulence of the period led to a lot of scandalising and gossip, which has given us centuries of great drama. While I’ve never read “Emma,” I have seen “Clueless.” I’ve never watched Bridgerton, but I can still get into the costuming and pomp. Basically you don’t need to be a fan of the genre to know the tropes. It was a nice change of pace that it was Ruby’s love for a tv show that puts things into motion. The Doctor and Ruby are tourists as much as the Chuldur, but with far less deadly consequences. Both groups are there to experience the emotional highs of the time, but the Chuldur don’t care who they hurt in order to do it. This of course is why Rogue, a bounty hunter, has also crashed the party.

You’ll be pleased to know I actually remembered to watch “Doctor Who Unleashed,” this week. Partly because I had some questions, but mostly because I wanted to hear them talk about the costumes and make-up effects. Davies mentioned that the season hadn’t yet had its baddie in a mask trying to take over the world, which I love that he considers. If you read my review of “The Witchfinders,” you may recall how much I appreciated the Morax being scenery chewing people in latex makeup. There’s something essentially Doctor Who about bug eyed monsters (sorry Sydney) and there’s something very RTD when those monsters have animal heads. Davies is now confirmed as a furry, I’m calling it.

The Chuldur share their appearance with birds, something we don’t often see in Doctor Who. I’m trying to recall bird villains from the show and I am coming up a bit short. There were the Shansheeth in the Sarah Jane Adventures, those bird people on Varos, that heavenly chicken from “The Time Monster,” and the Black Guardian’s hat. Considering all of the reptiles we get, I’m surprised we’ve gotten so few birds. If you also watched the Unleashed episode, you may have noticed that they digitally changed the bird version of Emily’s beak from black to orange. It’s the Vinvocci’s green faces from “The End of Time,” all over again! What’s funny is that this change in Emily’s beak gives her something of a penguin appearance. It’s not exactly the shapeshifting penguin I was hoping for, but I digress.

Speaking of shapeshifting, I rather enjoyed the Chuldur’s unique method of doing so. If you recall, when the Duchess spots her servant out in the garden, the bird form of the servant is played by the same actor as the servant. It’s not until she takes the form of the Duchess that her bird form also takes on the resemblance of Indira Varma. You don’t usually see that and I admire them for making two versions of the same makeup, if nothing else. Doctor Who has had its share of shapeshifters, so it’s nice to see them changing up the formula a bit. Unfortunately for the Duchess, this isn’t a Zygon type of body snatching where you have to keep the person you’re copying alive.

Ruby’s psychic earrings are doing a treat until they begin picking up interference from Rogue’s tech. A lot of people have mentioned that this episode seems to borrow a lot from “An Empty Child,” and so it’s only appropriate that the Doctor does a scan for alien tech. The source of the interference directs the Doctor toward the balcony where Rogue stands brooding. Meanwhile, the Chuldur version of Lord Barton has taken a liking to Ruby. The Duchess, still human at this point, attempts to introduce them, but Ruby is not impressed by the pompous dandy, referring to him as Lord Stilton. As Ruby strops away she notices a painting of Susan Twist’s character as an old matron. The Duchess refers to her as “the Duke’s late mother,” whose eyes still follow her around the room in judgement.

The Duchess takes her leave to the garden where she meets her fate with the Chuldur masquerading as her servant. We get a bit more of a look at what exactly the Chuldur do when they take over your body. What’s left of the duchess is little more than a desiccated husk. Meanwhile, in the study, Ruby has stumbled upon a rather intimate moment between Lord Barton and Emily. The bookcase obscuring her from the two frames them like a television screen. Ruby is unable to look away from the real life Bridgerton scene playing out in front of her. The Lord tells Emily that he will not marry her which would leave her ruined, but he is compelled by her nonetheless. However, before they can kiss, Ruby knocks a pile of books onto her head causing a disturbance. I rather loved this moment for Millie Gibson. It’s rare that women get to be portrayed as clumsy and that book definitely bonked her on the head. A great bit of physical comedy.

The Lord storms out of the room leaving Emily and Ruby to talk. Removed from the framing of the bookshelf, Ruby finds her compassion once more and comforts Emily. After all, Lord Barton was being a bit of an ass toward her. Emily is amused by Ruby’s modern sensibilities and lack of finery. You could tell this scene was written by two women as they actually take the time to let them have this moment. Meanwhile, the Doctor and Rogue take a stroll through the garden in order to size one another up. There’s a flirtatious energy between the two but a wary tension underlies the conversation. The Doctor muses about the stars, but on a terrestrial level. It’s not until he finds the Duchess’ shoe and then the rest of her that he gives away that he is not of this world. Rogue sees the Doctor’s sonic screwdriver and begins to suspect the Doctor is a Chuldur in disguise. The two confront one another as the culprit, but Rogue has the bigger gun.

Still comparing sizes, the Doctor and Rogue compare ships like they were Ten and Eleven comparing sonic screwdrivers. Speaking of sonic screwdrivers, it feels appropriate that the Doctor’s sonic would match his outfit. That’s so Fifteen. He’s a fashionable Doctor, so of course he would accessorise. It’s like they made his wardrobe and accessories with cosplay in mind. Rogue’s costume is also noteworthy. People have drawn comparisons between Rogue and Jack Harkness and it’s not difficult to understand. His long coat draws parallels to that of Jacks and he even mentions assembling cabinets in regards to the sonic. But what’s equally interesting is how Rogue’s gun resembles the type of handgun you would see in a Regency Era duel. Its barrel resembles that of a blunderbuss. He’s either deep undercover, or he’s got a thing for cosplay himself.

Rogue doesn’t get a lot of time for character development, but they do give him a few little moments, mostly through environmental storytelling. He has a striking birdlike ship fit for a heroic rogue, but inside it’s dirty and depressing. Possibly most telling on Rogue’s ship are the set of orange dice on his table. Rogue gets his name from Dungeons and Dragons, but beyond being a geek, these dice could tell us more about his personality. We learn that Rogue has lost someone, perhaps these dice belonged to them. Perhaps he is unable to move the dice from that spot because he didn’t leave them there. We also learn later that Rogue isn’t a very strong roleplayer. He’s quieter and more thoughtful in his improvisation. Perhaps his staged tryst was the first time anyone has asked him to roleplay since losing his partner. Either way, Jonathan Groff plays it with a vulnerable subtlety, and I loved it.

Speaking of loved it, we have now reached the portion of this article where I gush over Ncuti Gatwa. Now, I need to preface this by reminding you all that I have always been pro-Ncuti. I adored his portrayal of Eric Effiong in Sex Education. I never doubted for a second that he could pull it off. However, it wasn’t until this episode that his Doctor finally crystalised for me. We’ve seen that his Doctor could be flirtatious and fun, but we hadn’t yet seen the way in which he could use that to do Doctory things. We’ve had hot Doctors, but we’ve never had a Doctor who was so effortlessly hot. He’s hot in the same way the Second Doctor was bumbling, as in it’s almost a distraction from what he’s actually doing. It actually makes him slightly terrifying.

Even as his Doctor is standing in a trap, he’s able to use his charm to buy time. Also, once again the Doctor is stepping onto things that can kill him. An odd recurring theme. He maintains an air of authority even in the face of danger and that is so the Doctor. When the Doctor finds Rogue’s music playlist I think I may have melted. How could anyone incinerate such a beautiful person? How could you not want to dance right along with him? As much as I loved this scene and the meta reference to Astrid Perth, it does also buckle a bit under itself. First of all, wouldn’t the Doctor knowing an Earth song like “Can’t Get You Out of My Head,” make you question whether he was a Chuldur? Sure, they know Bridgerton, but it would be enough to give me pause. Furthermore, I’m not sure how seeing the Doctor’s many faces would cause you to not think he’s a shapeshifter. Kind of odd that one other face means shapeshifter but eighteen other faces don’t. Wait, did I say eighteen?

When I had first watched this episode, I didn’t immediately recognise Richard E Grant as the mysterious extra face in the lineup of past Doctors. We now have three extra faces in the form of Jodie Whittaker, Jo Martin, and David Tennant (again), but this extra Doctor wasn’t registering for me. At first I thought he was the Valeyard, and then I thought he looked a bit like Jim Broadbent, which is ironic considering “The Curse of Fatal Death.” It wasn’t until I got online afterward and saw people saying Richard E Grant that I could see it. I wasn’t even 100% convinced it was him, but I’ve heard they actually took new footage of Grant for that scene, so I guess it’s him. The more interesting question is which him is he? Is this the Shalka Doctor or the Fatal Death Doctor? Maybe he’s both. Maybe he’s neither. This wouldn’t be the first time they’ve given us retroactive Doctors. Moffat gave us the War Doctor to great effect. But despite a strong performance from Jo Martin, Chibnall did a piss poor job of establishing the Fugitive Doctor as a character. I’d love to get excited for this mystery incarnation, but I’m taking a Tim Gunn stance in the meantime- “Make it work.”

With Rogue now on his side, the Doctor takes him to his TARDIS so they can recalibrate his triform transporter to be non-lethal. Recently in an interview, Ncuti Gatwa mentioned he had gotten onto his agent about playing someone like the Doctor or Willy Wonka. It felt a bit like wish fulfilment for his Doctor to sing “Pure Imagination,” to Rogue as they entered the TARDIS. I really loved Jonathan Groff’s slow growing infatuation with the Doctor. I’m a big fan of “Mindhunter,” but it’s a very heavy show, so it was fun to see him in a more playful role. In many ways, Rogue feels like a bit of River Song and a bit of Jack Harkness. He’s something of a reboot and remix at the same time. I don’t doubt we will see him again, which would be a nice chance to give him some much needed character development, but for the time being, we’ve been given enough to work with.

The Doctor and Rogue’s plan is to draw the Chuldur to them by exploiting their love for drama and scandal. What better way to whip people into a frenzy in 1813 Britain than for two men to share a passionate dance together? Besties, I’ll be real, I was grinning from ear to ear. Watching Gatwa and Groff dance was very exciting. I’ve seen people complain that the Doctor and Rogue’s romance felt rushed compared to the “slow burn,” of Yaz and Thirteen. Slow burn is a funny way of saying “non-existent for two seasons.” And I would much rather see two men share a passionate kiss than two women share a passionate ice cream. What’s wild is that I’m not usually the kind of person who likes the Doctor to have romantic relationships. They managed without them for 26 seasons. However, due to Ncuti’s emotional availability, it works for me. I can buy that his time with Donna might have left him more open to romance. Furthermore, this is the antithesis of queerbaiting. Ice cream is not a payoff.

The Doctor ends the dance by staging an argument with Rogue and calling him a cad. But Rogue doesn’t respond in turn with the same volatile energy. There’s a hesitation on his end that feels personal. As I mentioned before, perhaps this is him working up the courage to roleplay again. Perhaps his lost partner was more the avid roleplayer between the two of them. Or perhaps Rogue simply has a softer approach. What I loved is that his marriage proposal felt equally as shocking, but in a more emotional manner. It even feels like it takes the Doctor by surprise. There’s a moment where it actually feels like a real proposal. The Doctor says he can’t and you almost believe he considered it. Or maybe the Doctor can’t even pretend to say yes because of his marriage with River song. If he undoes their wedding maybe it can revert us back to hot air balloon cars, Winston Churchill, and pterodactyls.

Not to be left out, Millie Gibson has gotten a lot of time to shine in this story as well. She does a fair bit of choreography, but there is one bit of her choreography of which I was a bit disappointed. After learning that Ruby is from the future, Emily reveals herself to be a Chuldur, and she wants to cosplay as Ruby next. However, Ruby’s psychic earrings come with a battle mode, which complicates things for the feathered fiend. My disappointment however, stems from the fact that they kind of phone in the fight choreography. They went through the trouble of hiring Bridgerton’s choreographer, Jack Murphy, for the dance sequences, but the fighting felt like a second thought. It could have been really cute to see Ruby do some “Crouching Tiger Hidden Dragon,” moves, but instead she clobbers her with a book. A bit underwhelming. Still a fun idea, though.

The Doctor and Rogue abscond to the garden where they are pursued by the Chuldur who reveal their numbers to be greater than anticipated. As baddies go, the Chuldur were little more than hand wringing monsters foaming at the mouth for a bit of mayhem, but I liked that about them. The way they speak to one another reminded me a lot of the Slitheen. The last time we saw Indira Varma in the Whoniverse, she was playing Suzie Costello, the best part of Torchwood. Here she chews scenery with a zest befitting her brilliant makeup. The only time that I felt they went a bit too far with the Chuldur is when they call what they’re doing “cosplaying,” as it felt a bit too on the nose. Otherwise, I loved the idea of evil birds going around and messing up planets all too satiate a dangerous appetite for excitement.

The Doctor sees Ruby acting as though a Chuldur has taken her form and it brings out the fury of the Time Lord. I wouldn’t be the first and I won’t be the last to point out the parallels between this and “The Family of Blood,” wherein the Doctor has some long term punishment in mind for the bad guys. Unfortunately, it also feels like a case of writers giving the Doctor weird morality again. Rogue wants to send the Chuldur to the incinerator, but the Doctor wants to send them to a dimension where they can live out the rest of their lives somewhere where they can’t hurt anyone. How is that any different from what the Weeping Angels do? It’s “Arachnids in the UK,” all over again. When the Doctor expresses happiness that the Chuldur will suffer for a long time, it begs the question- as compared to what? I’m fine with the Doctor losing his temper and going too far, but what about his plan actually changed other than his attitude about it? He was always planning on sending them into a dimension where they would suffer for 600 odd years. A line of dialogue or two could have fixed that.

The Chuldur’s big finale is a wedding between Barton and Ruby followed by a light bit of mass murder, but the Doctor has other plans. The Doctor’s objection to the marriage reminded me a lot of Tom Baker. I could easily hear Tom saying that line about it being hard to hear things through those heavy doors. Gatwa has that bizarre alien charm that feels correct. However, neither the Chuldur or the Doctor know the entire story as neither side knows Ruby is still Ruby. So when the Doctor traps the Chuldur in the triform transporter, he’s also dooming Ruby to the same fate.

I’ve seen some confusion as to how the transporter actually works, but I think I can piece together enough to understand it. They had calibrated the transporter to trap up to six humanoids. When Ruby is first trapped, there are five humanoids in the trap. Rogue throws Emily into the trap bringing the count up to six. We’ve established that the Doctor was able to throw his psychic paper from inside the trap, so things can leave its field. My thinking is that as Rogue pushes Ruby out from the field, he overloads it with seven humanoids giving Ruby just enough give to fall out of the trap. What got a bit confusing is why didn’t Ruby just step out of her shoes? If you can throw psychic paper, then it’s not trapped by the field. Therefore, her shoes would be the only thing molecularly bonded to the field. They could even say the shapeshifters can’t step out of their shoes because they’re actually part of their bodies. But then we couldn't get the big sacrifice at the end.

The aspect of this that I found harder to follow was why Rogue would sacrifice himself in the first place. Sure he and the Doctor have chemistry and there could be a romance brewing, but he barely knows the guy. Perhaps he couldn’t stomach the idea of watching what happened to him happen to someone else. It was a chance to stop the sort of thing he was previously powerless to prevent. I could buy that well enough, but it barely felt earned. However, it fits the tone of the rest of the episode which was one of over the top romance and drama, so I digress. Around here, fun is king and fun I had. It didn’t matter that I didn’t fully understand people’s motivations. There’s plenty of time for that in the future.

The episode ends with the Doctor sending Rogues ship to orbit the moon until it can be retrieved again (or until the moon hatches like an egg, whichever comes first). He wants to move on, but Ruby won't let him until he takes a moment to feel his feelings. This is classic Doctor/companion stuff. The Doctor has always benefited from having humans around and I am glad they took a moment to reestablish that. The Doctor pulls out Rogue's ring from the proposal and slides it onto his pinky finger. Fans of Amy and Rory will recall that rings can be used to find lost lovers, so there's a seed of hope there. It was a fitting end to an emotional and exciting episode. I got to watch the Doctor and Ruby do Regency Era dances to covers of Lady Gaga and Billie Eilish. I got to see Indira Varma hunt people while dressed as a bird. This wasn’t just my favourite episode of the season, it may be one of my favourite episodes ever.

________________________________________

Before I go, I wanted to apologise for how long this article took me to write. I’ve been dealing with some pretty heavy depression as of late, and it’s been hard to write these last couple of reviews. Even though I enjoyed both episodes quite a bit, it’s been a struggle. Despite episodes dropping at midnight on Saturday now, I don’t usually get around to writing until Sunday or Monday. But I didn’t get any good work done on this article until Monday evening. These articles are actually very therapeutic for me. It feels like a lifeline to the outside world. You may not think it, but I read every comment and every hashtag. I appreciate them all. Thank you for taking the time to read my stuff. It means a lot.

42 notes · View notes

saraw-melody · 2 months ago

Text

Hello everyone!

Today’s post is going to be about a band that I hold dear in my heart because I used to be a huge fan of them a few years ago!

That band is Why Don’t We.

Why Don't We, shortened to WDW, is an American boy band consisting of Jack Avery, Corbyn Besson Zach Herron, Jonah Marais and Daniel Seavey. They were formed in 2016 and have released two studio albums and six extended plays.

On August 31, 2018, they released their first album, 8 Letters. The record debuted at number nine on the US Billboard 200,and was preceded by three singles: "Hooked", "Talk", and "8 Letters". In March 2019, they embarked on the "8 Letters Tour"which was an international success.

The reason I wanted to mention them today is in relation with the chapter 2 of the negus about the industry. Specifically about the influence and the chock hold a label can have on artists.

In late 2021, the band became involved in a legal dispute with their label, Atlantic Records, and their management, Signature Entertainment, following serious allegations of abuse and contract violations. The conflict arose when the band refused to sign a new recording deal with Atlantic unless their current manager, Randy Phillips, became their sole manager. This led to a lawsuit from their former manager, David Loeffler, who accused the band of breaching their contract.

Phillips, in turn, filed a lawsuit accusing Loeffler of mistreating the band members, including claims of verbal abuse and forcing them to live in restrictive conditions. As a result of the legal battle, Why Don’t We postponed their tours and eventually announced a hiatus in 2022.

This all goes to show that when signing a deal with a label, artists may be pressured into doing certain things they wouldn’t have done otherwise which is very sad to think about.

Though they were forced to go into hiatus, it doesn’t mean that they had to stop singing and producing music altogether, which is why today, Daniel and Corbyn are still very much present in the music industry! (with difficulty nonetheless)

That was all for me ! I hope you enjoyed reading about the band Why Don’t We and their struggles!

I wish you all a great end of the week,

Sara

13 notes · View notes

lokiondisneyplus · 1 year ago

Text

Potential spoilers below the cut, but a super interesting article.

Some non-spoiler pull quotes:

Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through. -- This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. -- We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

Of the eight live-action TV shows that Marvel Studios has produced for Disney+ to date, only one has concluded with the explicit promise of a second season: That would be “Loki,” the outrageously entertaining series about Tom Hiddleston’s god of mischief and his metaphysical exploits in the Time Variance Authority.

It turns out, those plans were already in the works before a second of “Loki” had ever streamed. As executive producer Kevin Wright explains to Variety, he and Hiddleston began talking about Season 2 of the show while in production on the third episode of Season 1.

“As we were shooting the ‘Lamentis’ episode, Tom and I started having lots of conversations about how this world could build out, how we dive deeper into it,” he says. “A large part of what we wanted to do was not trying to repeat ourselves, and not try to play the hits.” At the same time, he adds, they also wanted to make sure didn’t start Season 2 by “fast-forwarding through the drama” of the Season 1 finale.

And so much happened in that finale. To recap: Loki and his variant-turned-potential-soulmate Sylvie (Sophia Di Martino) arrive at the end of time, where they meet the creator of the TVA, He Who Remains (Jonathan Majors) — the variant of the supervillain Kang who won a massive multiversal war. To prevent future Kangs from emerging, He Who Remains has used the TVA to maintain a single, sacred timeline — pruning away trillions of potential lives in the process. He gives Sylvie and Loki an impossible choice: Replace him as the head of the TVA, or kill him and bring forth an infinite number of Kangs.

Loki wants the first option; Sylvie wants the second. She wins, kills He Who Remains, and boots Loki back to an alternate version of the TVA, where previous compatriots Mobius (Owen Wilson) and Hunter B-15 (Wunmi Mosaku) don’t remember ever meeting him.

Variety has screened the first four (of six) episodes of “Loki,” and without spoiling anything, Season 2 picks up pretty much exactly where the first season left off — before then charting its own storytelling path. The full cast has returned, including Gugu Mbatha-Raw as former TVA judge Ravonna Renslayer and Eugene Cordero as TVA functionary Casey. And Majors returns as well as He Who Remains, in addition to another Kang variant, a 19th century inventor named Victor Timely. They’re joined by new actors including Kate Dickie (“Game of Thrones”), Rafael Casal (“Blindspotting”) and recent Oscar-winner Ke Huy Quan as TVA technician Ouroboros, aka “OB.”

Behind the scenes, there have been some changes from Season 1. The series’ original director Kate Herron and head writer Michael Waldron both stepped back to focus on other projects. In their places, “Moon Knight’s” Justin Benson and Aaron Moorhead have stepped in as lead directors, and Season 1 writer Eric Martin stepped up as head writer for Season 2.

To delve into the second season of “Loki,” Wright talked with Variety about casting Quan just before his performance in the multiverse spectacular “Everything Everywhere All at Once” changed the actor’s life forever; what the future of “Loki” the show and Loki the character might be following Season 2; and how Majors’ arrest in March for assault did (or did not) affect their plans for Season 2.

What were the discussions like about how to approach Season 2?

I think we had to just keep reminding ourselves that the TVA is a great world, let’s live in the drama of what we’re creating there. Which means not fast-forwarding through the drama that they just decided to stop pruning timelines, but also staying in the emotional turmoil that Loki and Sylvie are coming into this season with.

Also, there were certain things in Season 1 that felt like they were maybe a risk, and we didn’t know how the audience would respond. Once we realized that they embraced it, it felt like a lot of freedom to go further.

What did you feel was a risk?

In a very early draft of the script that Michael Waldron had written, that first Time Theater conversation between Mobius and Loki was maybe a couple of pages. And then a lot of other big Marvel-y action things happened afterwards, and we all went, “That’s not the interesting stuff. This Time Theater conversation is interesting. That’s what the show could be.” If we are really diving into the character-driven philosophy and introspection of self, that’s quite different than the last 10 years of Marvel movies. Would the audience follow us along on that?

Tom Hiddleston famously held seminars on the character of Loki for Season 1. Did he do anything like that for Season 2?

No, because we tried to bring back as much crew as we could from Season 1. It was largely the same team. Obviously, we went from Atlanta to London [for production], but a lot of our department heads carried over, so there was an institutional knowledge that was built in. And Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through.

So even as Kate Herron kind of handed the reins over at the end of Season 1, there is an institutional knowledge that comes with us being the glue between the seasons.

You mentioned He Who Remains and Victor Timely. You finished shooting Season 2 in 2022, but did Jonathan Majors’ arrest for assault in March resulted in any changes to the show?

No. This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. We went out there with a very specific idea of what we wanted this to be, and we found a way to tell it in that production period. It’s very much what’s on screen on Disney+.

It’s clear that Majors plays an integral role this season, and you just alluded that Marvel usually does additional photography on all its titles. So was there any discussion about making changes to the show, given the uncertainty about what was happening with Majors?

No. And that mainly came from — I know as much as you do at the moment. It felt hasty to do anything without knowing how all of this plays out.

How early into the writing of Season 2 did you decide to cast Ke Huy Quan as OB?

We were in London, so I had at least some version of our scripts. The way the process works, they’re always being rewritten, but OB was in there, and his introduction scene was almost exactly as originally written. I would like to say it was in early spring, which was maybe just two months before we started shooting. We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

So that that Friday, myself, Justin and Aaron, two of our directors, had gotten on a Zoom with Ke. We pitched him the show and this character. We shared that introduction scene with him and maybe the full script. And then we called in the big guns that Monday; Kevin Feige got on the phone with him and said, “Ke, I know you read the script. I know you talked to the guys. We really think you should do this. I really want you to join the Marvel family.” And he had already made up his mind over the weekend. It was like, “I’m there. I’ve been a huge fan of this for a long time.”

In Season 1, the show explored several time periods and locations outside the TVA, but in the first four episodes of this season, you stick to just 1880s Chicago, 1970s London and 1980s in the Midwest. How did you come to that decision to focus more on the TVA and building out its history?

Because that felt like where so much of our core character conflict was going to come from. There was so much intersectionality of our characters and what they think of the TVA. Sylvie wants to burn it down because the apple is rotten, as she says. Loki sees it as potentially the only form of defense against whatever else is coming in a war with Kang. Mobius and B-15, they’ve dedicated their whole life to it. They’re not quite ready to give it up. Renslayer feels like she’s been keeping it together, and you get a real understanding of why she thinks she should be the one to get this thing back on track.

We want everybody to be in the gray area — they’re neither good nor bad. They might make bad choices or heroic choices, but they are trying to figure out who they are. The TVA felt like the place where we could maximize that storytelling and learn more about those characters through that. But also stay tuned, because we are going to more places [in Episodes 5 and 6].

Do you think the TVA could start to appear in other titles in the MCU?

I would love that. Look, I’ve been siloed in on “Loki” for almost five years now, by the time this show finishes, and with every filmmaker who has put their hands on the show, we’ve all had the same conversations: It feels like the TVA could really be this exciting connective tool for all of this storytelling. And we’ve only seen a fraction of it. We’re dealing very specifically with this one smaller department with Mobius and B-15 and Renslayer, but you look out at those vistas — this place is infinite. The exciting thing to us is there certainly are more stories to be told there. We’ve carved out our own little corner of the sandbox and built something cool. We’re hoping that other people want to come and play with it.

One of the things I’ve most enjoyed about “Loki” is how it’s telling its own story, but have you considered bringing more of the MCU into it?

Yes, in both seasons of writers’ rooms. It always felt wrong to go too far outside of the box of things that would directly contribute to Loki’s character arc in these two seasons. So that’s why we get [Jaimie Alexander as] Sif in there [in Season 1], we play with the variants in the void and various levels of Asgard-specific storytelling. But while we’ve had nearly 12 hours of storytelling, it never feels like we have enough time. Eventually, just handling the stories of our ensemble and not shortchanging them has always been priority number one.

Now, Season 1 and 2 were always built to be two chapters of the same book. The hope would be going forward, there are more books that we can tell these stories with. I certainly think that we could start doing that.

Would there be a Season 3 of “Loki”? Is the future of the show finite or more open-ended?

I think it’s open-ended. We certainly did not develop this season going, “We have to tee up Season 3” — in the way that we did with Season 1, where there was a very specific, “Hey, we’re coming back.” But I also think that where this show goes, there certainly can be many, many, many more stories told with Loki in the “Loki” world, and in other worlds connected to Loki, the character.

Do you think Loki would ever rejoin the larger world of the MCU?

That’s the hope. I don’t want to — yeah. I think the the sun shining on Loki and Thor once again has always been the priority of the story we’re telling. 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.

This interview has been edited and condensed.

#loki #tom hiddleston #kevin wright #ke huy quan #season 2 #spoilers

66 notes · View notes

heresmyfiddlestick · 8 months ago

Text

i've been meaning to do a short-by-shot breakdown of the trailers for the upcoming season of Doctor Who, and with full-length trailer #2 out today it seems like a good time.

this will cover the teaser trailer (dropped after the christmas special), trailers #1 and #2 (dropped March 22 and today respectively), and the YouTube short they've released with all the episode titles. I've previously looked at the premiere date teaser released March 15.

Title Drop Short

I'll start with this because it is the shortest and gives some helpful hints to identifying other clips.

The accompanying audio here is some babies crying as the lights flicker, showing the monster's shadow. Is the monster hunting the babies? Is it supposed to be protecting them?

What this screencap doesn't convey is the music notes lifting off the page on the far right. When looking up "The Devil's Chord" (aka the tritone) I find on Wikipedia that "George Harrison uses tritones on the downbeats of the opening phrases of the Beatles songs "The Inner Light", "Blue Jay Way", and "Within You Without You" - I'm clearly not big up on my George songs, and I think it would be hilarious if the Beatles-centric episode of Doctor Who winds up being specifically George Harrison-centric.

I can find no info on who Timothy Drake might be (besides Robin, but that feels like a long shot). There is a piece credited to Beethoven behind the book.

"Boom" - clearly The Moff trying to bring back the spooky one-word title steez of Blink and Hide and Listen and so on. This clip has falling rubble and a bit of lazer fire, and above the door we have written "Entrance 3"

We have a cawing corvid behind this one, as snow rushes past what looks like a sign for a pub. Pretty creepy sign!

The words appear in sequence with some electronic chimes here, before the whole thing glitches out. Social media episode?

Here we have the title for the episode that was provisionally known as "Regency", written by Kate Herron and Briony Redman. We have reference to "The Duchess of Pemberton", who is presumably "The Duchess" played by Indira Varma. 8 May 1813 is in fact in the Regency period, but I can't find any other historical significance to that date.

The multiple screens and tech set up here gives me the vibes of a television studio. Will Ruby turn out to be a Sam Jones situation, a companion orchestrated perfectly for the Doctor? I'd say that's unlikely but I'm not ruling it out.

Now THIS is a Doctor Who episode title. Go off king give us nothing!

Alright bearing those aesthetics in mind, let's move on to the teaser trailer that premiered after the Christmas special

Season Teaser

youtube

This trailer introduced us to the great, kinda creepy music that recurs throughout the rest of them. And a powerful gaze from Dr. Who themself.

I think I can connect this shot to a scene we'll see later.

We then pop to another stare, in a shirt we've already seen in the Christmas special - so this is probably Episode 1 ("Space Babies").

Lots of good stares this episode, as we also see him looking through a window in the premiere date teaser. Who is that behind him with Ruby?

Then he's running down a corridor, and I'm so glad they've chosen to give him loads of different outfits because that makes this job much easier.

This is undoubtedly in Episode 2. Is he racing to stop "The Devil's Chord" from being played? Or maybe he's going to find Ruby ensnared somewhere. More on that later.

Why is he wearing a whistle? Why are the lights so low?

Were they working out? I love it.

A TARDIS design has to have some good levers for yanking on. This one has that and a jukebox AND mood lighting. good for her!

"I have the whole universe at my fingertips" - this is only part of a quote, which we'll get more of in a later trailer. I like this spot on a cliff's edge that they end up on, and I've just noticed the silly little tree near the TARDIS. The Doctor fell deeply in love with Dingle's Door when they regenerated from 13 and now their go-to spot is gonna be precarious rocks overlooking the sea. Just my prediction. This is likely Episode 1 "Space Babies", given other clips we've seen of them popping out here in their Christmas special outfits.

A door opens, casting a shadow on Ruby as she looks somewhat dumbfounded at what lies on the other side. Judging by the costume, this is probably Space Babies too, and yeah it looks like there might be babies in jars behind Ruby there...

It really looks like he has fangs in this screencap. Again, probably Space Babies given the costume. But who knows!

He's slamming on a button. Possibly to "Reset Port B"?

Here is the Doctor dancing with Jonathan Groff in Episode 6 "Rogue", and nobody seems too interested in them, but then:

The Duchess (and those around her) have taken note of something.

Mr Groff glancing at the Doctor's lips lmao

I love his wig! Everyone has taken notice now, and there's clearly something that has interrupted their dance.

Here we've got the pair strutting along the TARDIS walkway, probably having just changed into these sweet outfits before heading to:

"Abbey Road Studios" in Episode 2 "The Devil's Chord"

They're freaking out I love them. This is a great second-trip in the TARDIS historical. The Doctor has fallen back on their old tricks, but at least they didn't end up in Cardiff again. They're in the recording booth here during a Beatles studio session.

Where is Ringo?!!!

There he is (:

The Doctor has stepped on something he shouldn't. This is presumably is "gonna be a minute!" in the other teaser I've looked at. Shot in the dark, this is from Episode 3 "Boom". Because of land mines. (And the rubble and lazer blasts in the Short seem to match the "warzone" vibe)

"I've really stepped in it now". This looks like similar lighting to the very first "intense stare" shot from the start of this trailer.

Continued in reblogs...

#doctor who #doctor who trailer #doctor who speculation #fifteenth doctor #ruby sunday #Youtube

21 notes · View notes

bigassbowlingballhead · 2 months ago

Text

actually, this has the potential to be meta as hell and fire commentary on human existence. i'm so down for it.

#the sims movie #also it wouldn't be me if i didn't say #cast tzp in this

7 notes · View notes

sketchfanda · 12 days ago

Text

Sketch-Verse Lore:Life on the XXX side & Tier Systems

With the particular quirk and kinky nature of their respective wives or girlfriends and how often they get around with other women, it stands to reason that Krillin, Kirishima and Moxxie would somehow halogen to wind up finding themselves working in the porn industry. But of course the studios to work for her are professional as much as they are erotic in nature and the owners and operators of these establishments have a fond appreciation for the natural talents of their rookie studs, even obliging their need for a little anonymity to protect their identities and prevent from being recognised out on public streets. To say nothing of how much their co-stars just love and look forward to working with them for filming and photoshoots.

From the dragonball verse’s ZigZag studios aka Double Z studios we have Don Juan Sanchez (Krillin), to date the current sole human male star in the anthro occupied roster. Naturally this has seen him build up a steady growing body of work in its newly arisen human male on furry female tag demographic as well as a sizeable fanbase among women. Most chalk this up to the slight resemblance he has to the line of Warrior Monk sex dolls and his modest, humble charisma and debate rages I he would look better without the beard and tattoo (which are temporary). His most notable streak thus far has been the series of shoots he has performed with retired veteran stars who’ve made thir comebacks in a new career renaissance just to have another round with him. Rumours say he’s gotten up to more sexual hijinks off camera than on but nothing has been confirmed or denied….

In the Heo Aca verse, we present ManaWorld Pictures’ Mr.R often referred to by his common character name Red (Kirishima), who Syx herself has come to consider her personal favourite rookie to date and she even has that statement in writing. This modest beefcake has made quite the body of work thanks to his Plus Ultra stamina and his personal drive and dedication on the ideal that a real man never leaves a woman sexually unfullfilled or unsatisfied. His Ikemen vibes have certainly also helped in not only being well built and quite well endowed but also the right blend of cute and handsome and his teddy bear like nature has made for quite good chemistry with some of his co-stars. One can only imagine his age and skill will only increase in age as his career runs on....

In the peculiar Hellverse, we have the Lust ring based Skullfuck Productions' talented rookie imp sensation known only as Mysterious M, an enigmatic demon of sophisticated theatrical taste and culture and an appreciation for the arts. This silver tongued sweetheart has made quite a name for himself with his ever growing body of work seeing him woo many a fine pretty sexy thing in Hell and even the living world and Heaven itself!! This has seen sales of his movies and views on the SFP website hit numbers mathmeticians have never even possibly heard of and that's not changing anytime soon. Many a woman has sent fan letters sharing intimate details they've had fantasizing about this masked imp visting them in their dreams to work his demonic magic on them....which has inspired the scriptwriters much to Mr.Sketch's delight...

Rumours say that Demon Queen Chloe with her vast amount of free time and ultimate omnipotence and a few individuals made up a tier systems of studs & bull on what particular girls really like and want in a man. those who've qualified are all equal in endowment but it’s particularly ranked by emotional maturity . There are 4 tiers in total as follows as well examples of the guys who fall within each.

Tier 1 is the Lovable Every man Himbo: these guys are the every regular men who poses huge cocks and a level of relative maturity but in some way foreign to the Lewd occurrences . These are some who fall in this tier. Jon Herron, Dipper Pines, Izuku Midoriya, and Jaune Arc.

Tier 2 is the Reluctant Bull Moose: These are the guys who are thrusted in the lewd direction by random chance and fate. These are the ones who does it cause it’s the only choice or tricked.

Tier 3 is the Crutch Crotch. These are the emotional support dogs of the endowed hunks and himbos who attracts the laddies with their eagerness to listen and be courteous towards the women who they fuck

Tier 4 is the Trifecta Ratio Casanova: these are the hunks who are all three tiers in a perfect ratio of personality and skill. These of course are Kirishima, Krillin and Moxxie.

#sketchfan #sketchfanda #sketchfan85 #kirimina #helluva boss #my hero academia #kirishima eijirou #kirishima

5 notes · View notes

pers-books · 7 months ago

Text

Doctor Who 2024 series news

New information about the eight episodes in the Doctor Who 2024 series is revealed in SFX magazine 378. We’ve included contextual information from what we know from other sources and filming reports.

Space Babies

This episode picks up from the events that happen at the end of The Church on Ruby Road with Ruby Sunday (Millie Gibson) entering the TARDIS for the first time. The Doctor (Ncuti Gatwa) and Ruby land on a spaceship occupied by babies who are very talkative for their age, a scary slimy monster called the Bogeyman (Robert Strange) — and no adults to be found. Space Babies introduces the series story arc of both the Doctor and Ruby’s foundling mystery.

The Devil's Chord

Ncuti Gatwa describes Maestro (Jinkx Monsoon) as “Such a delicious villain.” The Doctor and Ruby meet and chat with The Beatles in this episode set in 1963. Both Ncuti Gatwa and Millie Gibson will sing in the story. The large recording room at Abbey Road Studios was recreated as a set at Wolf Studios Wales.

Boom

The Doctor and Ruby travel in the TARDIS to Ruby’s first alien planet — a war-torn world. The episode, written by Steven Moffat and described as “intense”, was filmed in chronological order with Ncuti Gatwa receiving praise for his performance from director Julie Anne Robinson.

73 Yards

The TARDIS lands on the Welsh coast and Ruby must solve a mystery involving a Welsh horror folktale legend. The TARDIS scenes were genuinely filmed on the Welsh Cost in Pembrokeshire. Dame Siân Phillips co-stars with Aneurin Barnard and Jemma Redgrave. Filming reports reveal that Barnard plays a Welsh candidate named Roger Ap Gwilliam.

Dot and Bubble

Gatwa and Gibson filmed their first Doctor Who scenes together on a pontoon inside entrance locks in Cardiff Bay Barrage for Dot and Bubble. The setting for Dot and Bubble is a colony with an out-of-control dangerous situation on an alien planet. Callie Cooke plays an influential person in the colony. The episode is described as very Black Mirror and touches on a real-world problem which will likely cause a good deal of discussion after the episode airs.

Rogue

This episode was co-written Kate Herron and Briony Redman. Set in the Regency Era in 1813, Rogue, described by Davies as “a proper Bridgerton episode with dances and waltzes”, was filmed in three different manor houses. Psychic earrings allow the Doctor and Ruby to period dance with skill. Jonathan Groff and Indira Varma co-star. Varma plays the villainous Duchess of Pemberton — who is not what she seems.

The Legend of Ruby Sunday and Empire of Death

These episodes, set on Earth, feature UNIT headquarters populated by Kate Stewart (Jemma Redgrave), Mel Bush (Bonnie Langford), Rose Noble (Yasmin Finney), Morris (Lenny Rush) and Colonel Ibrahim (Alexander Devrient). Russell T Davies calls this episode “shocking” and “The Most Devastating Finale.”

Doctor Who, starring Ncuti Gatwa and Millie Gibson returns on 11 May 2024 midnight, 00:00 BST (10 May 7:00pm ET) streaming on BBC iPlayer and Disney+ with Space Babies and The Devil’s Chord. Both episodes will broadcast on BBC One in the UK and Ireland on 11 May immediately before Eurovision. The remaining six episodes will stream at 00:00 BST on the six subsequent Saturdays.

-- So it looks like Jemma DID film with Ncuti, despite what she said in a recent interview. Which is as it should be - she can't be in New Who and NOT appear with the Doctor - that ain't right and proper! AND she's in three episodes this series (that we know of!). Huzzah!

#Doctor Who #Ncuti Gatwa #Jemma Redgrave #Millie Gibson #News #Spoilers

19 notes · View notes

twh-news · 1 year ago

Text

‘Loki’ Puts Plot Over People in a Less Focused Season 2: TV Review

Time travel is impossible in real life, but it’s also pretty difficult to pull off in fiction, where a nifty plot device can too easily devolve into a tangled nest of convoluted exposition. The first season of “Loki” avoided this problem, making the Disney+ show a bright spot in a somewhat stagnant era of the Marvel Cinematic Universe. In following a “variant” of the Norse trickster god into the depths of the Time Variance Authority, or TVA, the series paired impeccable production design with a simple emotional narrative — especially once our primary Loki (Tom Hiddleston) met his match in his female counterpart Sylvie (Sophia Di Martino), a relationship that opened questions of identity, free will and self-determination. Tracking the potential branches of the so-called Sacred Timeline could make your head spin. Like a Zen koan, “What makes a Loki a Loki?” is grounding and easy to grasp.

In the final moments of its first season, “Loki” revealed it would become the first Marvel Studios show for Disney+ to have a second season. This news came as a relief, given its cliffhanger ending; after Loki and Sylvie traveled to the end of time, Sylvie killed He Who Remains (Jonthan Majors), the founder of the TVA and the primary obstacle keeping the Sacred Timeline from becoming a full-fledged multiverse. When Loki, having tried to stop her, returned alone to the TVA, he found an office transformed, with statues of He Who Remains looming everywhere and employees like Agent Mobius (Owen Wilson) having no memory of their quarry-turned-collaborator.

[Spoilers ahead]

Two years later, “Loki” is back, and not a moment too soon. Though the show started the MCU’s Multiverse Saga on a high note, the franchise’s latest phase has since run into trouble onscreen and off. “Ant-Man and the Wasp: Quantumania” was a critical and commercial disappointment that failed to build on the goodwill generated by “Loki,” despite using some of the same concepts and characters. Meanwhile, Majors is facing trial for charges of assault and aggravated harassment against his former girlfriend, throwing Marvel’s plan to make his character the next Thanos-style archvillain into question. (Not that blockbuster business planning should be anyone’s main concern when it comes to allegations of domestic violence, but with this much money on the line, it is a concern to some.)

Such circumstances place a great deal of pressure and scrutiny on “Loki” Season 2, which has also seen some personnel shuffles behind the scenes. (Eric Martin takes over head writing duties from creator Michael Waldron, while sole director Kate Herron has passed the baton to a larger group led by collaborators Justin Benson and Aaron Morehead.) But while “Loki” remains a cut above other MCU shows, second only to “WandaVision,” Season 2 succumbs to the same traps the original story so cleverly avoided.

While the first episodes of “Loki” used its namesake as an audience surrogate, gradually laying out the purpose, customs and bylaws of the TVA, Season 2 begins in media res. Right away, Loki is tasked with finding Sylvie, figuring out why he’s hopscotching through time and navigating the chaos of a TVA workforce that’s just discovered all memory-wiped variants from “severed” — or less euphemistically, eliminated — timelines. It’s a lot, perhaps too much, for both Loki and the viewer to process, especially since the story feels increasingly unmoored from Loki’s own journey of (literal) self-discovery.

Instead, the season introduces new MacGuffins like the Temporal Loom and characters like Ourobouros (Ke Huy Quan), a kind of cosmic IT guy tasked with keeping TVA equipment in shape. There’s frantic motion and momentum, but not as much of a sense of who wants what, and why, when it comes to complicated questions of personal autonomy versus the collective good. In fact, one gets the sense that “Loki” maintains the breakneck speed precisely so it doesn’t have to slow down and root the action in its characters’ wants and needs. Online explainers will surely lay out the logistics in exhaustive detail, but they can’t create the sense of emotional urgency the season palpably lacks.

At least there are the performances, delivered by an ensemble within the MCU’s mega-ensemble that remains one of its best. On an extended victory lap after his Oscar win for “Everything Everywhere All at Once,” Quan brings an antic energy to Ourobouros, or OB, that complements the wacky hijinks he’s asked to facilitate. Rafael Casal is less well-served as a TVA employee who’s barely introduced before becoming a fugitive we’re told is crucial to the plot, though through no fault of his own. And when taken on its own terms, Majors’ work as He Who Remains in his various incarnations is an idiosyncratic and strangely magnetic break from Marvel house style — though whether it should be considered separately from his off-set behavior is another question entirely.

The playful, inventive visuals also continue to give “Loki” an added edge, from the crammed gadgetry of OB’s workshop to a quick detour in 1970s London to an entire episode set in 19th century Chicago. But where everything from the set design of the TVA to its complicated cosmology once felt in service to Loki’s burgeoning ability to feel camaraderie and love, the hierarchy now feels reversed. Even though, via spoiler-y means, Loki and Mobius do get to resume their buddy routine, there’s less space for either their friendship or Loki’s bond with Sylvie when everyone is racing around for unclear reasons. “Loki” is still a good time, but despite the renewal, it may not have been built for a long one.

#loki #loki series #loki season 2 #review #Variety #tom hiddleston #article #loki spoilers #spoilers #spoiler

11 notes · View notes