![]() But in the show, that changes - in the most Loki way possible. He’s a compulsive liar and a narcissist, someone so single-mindedly focused on himself that nothing else seems to matter. Growth isn’t something typically associated with Loki. Here, he’s given a chance to grow across nearly six hours of screen time. This is the deepest, most intimate look we’ve had at the character so far, despite six film cameos spanning a decade. But grounding it all is Hiddleston’s take on Loki. The show touches on a lot of lofty themes, like the idea of parallel worlds and whether free will can even exist in a multiverse. There are a few pacing issues, like a third episode that ends on a frustrating cliffhanger and a monologue-filled finale, but for the most part, Loki moves along at a satisfyingly brisk rate. Once the TVA and its many confusing rules are established, this relationship between two Lokis, which starts out antagonistic before becoming more intimate, forms the thrust of the show. Hiddleston’s Loki is constantly on the run, eventually switching allegiances to work with the variant he was meant to capture - who calls herself Sylvie (Sophia Di Martino) - as the two decide to take down the TVA together. Things move with an incredible sense of momentum. From there, Loki heads into more explicit sci-fi territory one episode takes place on a dying moon that’s about to be crushed by a planet, while another is set in a void at the end of time that seems to be populated entirely by alternate versions of Loki. After Loki is processed through the TVA’s charmingly banal bureaucracy, he forms an uneasy alliance with agent Mobius (Owen Wilson) in order to track down the killer variant. Within this framework, the show jumps across genres, starting out a bit like a buddy cop series.
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