![]() However this time it doesn’t rely on clips and reminders of existing films. The show soon resumes its attempts to have Loki be both the villain plucked straight from The Avengers, as well as the “original,” more empathetic Loki of later entries. While a far cry from any overt display of sexuality (the largely desexualized MCU barely does this for straight characters), it’s a nice albeit fleeting way for Disney to finally pull this trigger, making Loki their dozenth or so “ first” queer character in recent years, though likely their most high-profile. Purple light streams in from the windows, and while the palette is a few blue shades short of “ bisexual lighting” - the backdrop is appropriately green, for a scene about two Lokis - it’s an overt enough foreshadowing for when both characters casually mention their fluid sexualities. However, once the train departs, Loki and Sylvie are able to share a few nice moments, revealing the personal and romantic pitfalls of life as a prince, and life on the run. It feels oddly out of character for an Asgardian Variant, and while Sylvie could certainly end up being a character from Earth (she shares several traits with the comics’ Enchantress), it’s the kind of meaningless snark that ultimately flattens several of Marvel’s characters into indistinguishable mush. “Dressing as a guard and getting on a train is just doing a thing,” she jabs. “FYI, that wasn’t even a plan” says Sylvie, of Loki’s guard-uniform illusion. first played Iron Man in 2008, but now feels like a stale substitute for characterization. It’s here that the episode begins to press pause, and while it eventually affords the characters some dramatic meat, it also spends an inordinate amount of time becoming especially quippy and Marvel-esque, in way that felt novel back when Robert Downey Jr. ![]() Their attempts to one-up each other begin to feel petty and powerless, leading to a fun bit of negotiating and a reluctant partnership. ![]() ![]() Once Loki and Sylvie escape, they find themselves on a doomed planet, whose half-destroyed moon shoots flaming, purple comets in their direction. first played Iron Man in 2008, but now feels stale. It spends an inordinate amount of time becoming quippy and Marvel-esque, in way that felt novel back when Robert Downey Jr. The fight doesn’t last long, since Judge Ravonna Rennslayer (Gugu Mbatha-Raw) soon breaks up the party, but it’s incredibly refreshing in the grand scheme of the Marvel Cinematic Universe. Here, the scene is immediately intriguing (thanks in no small part to Natalie Holt’s alluring score), and it’s driven by Loki’s desire to learn more about his opponent. When Loki catches up to Sylvie, knives in hand, their fight is more of a careful dance than one of Marvel’s usual beat-’em-ups, the rote and often pre-visualized scenes that - outside the first two Avengers films - generally feel disconnected from the story. A wide shot of Sylvie taking out a few remaining Minutemen draws us into an ornate hallway, and centers the golden elevators that supposedly lead to the Time Keepers. Parts of this sequence fall into Marvel’s usual trap of shooting fights without clarity and constantly cutting on impact ( a larger Hollywood problem), though once the obligatory, up-close second unit bits are dispensed with, director Kate Herron’s penchant for revealing character through movement begins to shine through. Loki wants to learn more about Sylvie’s powers, which she tries and fails to enchant him with, and while Sylvie is hardly explicit about her intentions, there remains a looming sense that her attempts to get Loki to open up are less about making a connection, and more about finding ways to invade his memories.Īfter a brief recap of Sylvie enacting her plan, the episode kicks off with an action scene back at the TVA. Along the way, they reveal things about themselves to one another, with each actor’s performance hinting at subdued vulnerabilities - but they’re also both tricksters with their own agendas. The episode follows Loki and Sylvie making their way across Lamentis-1, a planet on the verge of apocalypse. However, the key purpose served by this introduction is to colour what might otherwise be a bland series of character exposition.
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