Anti-heroes are a rare breed. Irksome, irascible and prone to possess more humility than most archetypes, they are there to promote a quandary. Audiences gravitate towards them, but do so firm in the knowledge that such things are a guilty pleasure. Nowhere does that sentiment feel more appropriate than in the presence of Loki. A preeningly pompous amalgam of everything nefarious which ever deemed to set foot on screen. This comic book creation, which first graced collective multiplexes in Thor, epitomised all those traits and even threw in some new ones.
Tom Hiddleston was pivotal in bringing this conniving Shakespearean throwback to life, as he cavorted around like a deflated sibling next to an absurdly pumped Chris Hemsworth. However, what lifted Loki beyond caricature and turned him into an icon was his humanity. Beyond the theatrics, beneath the façade and after those fanciful speeches were over the vaudeville remained.
There was an inherent need for validation which undermined every attempt at dominance. That lack of success, that need for power and ultimate banishment made him endearing. This is why Loki garnered favour, gathered a following and eventually became iconic. A fact which Marvel have now acknowledged by giving him centre stage.
From the outset things have been done differently here. Production designer Kasra Farahani has created a world which feels more Terry Gilliam than Marvel Cinematic Universe. Chunky monitors, multi-coloured keyboards and analogue dial-up sit alongside architectural chasms. Miles of lift shaft disappear down into darkness, while antiquated paper trails gather dust in anonymous basements. There is a real sense of abstract realism reminiscent of Brazil, as universal administration gets an overhaul Marvel style.
Creator Michael Waldron taps into filmic references to cleverly circumvent exposition, by repurposing Steven Spielberg in a direct lift from an iconic movie. However, this is in amongst so many other moments of subtle invention that audiences will merely smile and move on. Other lifts are more literary in nature, with Philip K. Dick being front and centre when it comes to introducing the TVA.
By establishing the Time Variance Authority early on alongside Owen Wilson’s Mobius, director Kate Herron provides Loki with an essential dynamic. Conflict, confusion and an inherent conceit are pivotal to making things work. That the chemistry between both Loki and Mobius is almost instant, goes some way to selling everything which follows.
There needs to be an endlessly redemptive force for Loki to confound throughout. Just as there needs to be a combative element as personified by Gugu Mbatha-Raw’s Ravonna Renslayer. With those prerequisites in place things soon get kicked up a notch, as things get gradually more circumspect.
As the minutes tick by in this opening episode puzzle pieces slot into place, character flaws rear their ugly heads and mayhem ensues. Revelations all relate to the TVA and our erstwhile mischief maker learns some hard lessons. Loki is never less than interesting and often pulls off inspired without dropping the ball. A feeling that continues to resonant as the episode concludes.
More than WandaVision, this feels like a phase four precursor for everything which may follow. Elements are in place; pieces are on the board and Marvel are back to switching it up for their multiverse massive. Shakespearean, silly and packing a powerhouse performance, Loki is gearing up to be another gamer changer.
