Loki (Movie Review)

Within an entire pantheon of muscle-bound heroes and cosmic do-gooders, it’s Loki – the greasy little emo rat – who has become a surprise jewel in Marvel’s crown. His flowery turns of speech (‘mewling quim’ is a favourite) and runtish quality make him a truly unique character. Moreover, unlike Thor or Sif, the other members of his group, Loki takes on traditionally female roles in their culture, as statesman and illusionist mage.

When he loses his temper aboard the S.H.I.E.L.D Helicarrier, he insults Natasha Romanoff — known professionally as Black Widow — using an archaic insult that’s both derogatory and sexist. While the insult itself is nothing to be alarmed about, it’s the context in which it was delivered that’s disturbing.

Loki is being interrogated by the TVA, a cosmic bureaucracy that’s responsible for preserving the timeline, a sacred duty they’re not above punishing anyone who violates. Its headquarters are a claustrophobic maze that merges the surreal and scientific in ways that feel uncanny — think low ceilings, vomit-coloured Seventies decor, and headache-inducing fluorescents. As the TVA interrogates him, Loki time slips to his branched timelines where past versions of himself are waiting for him. He asks them for help against He Who Remains, and they agree. Afterwards, Loki realizes that the multiversal war is impossible and instead uses his powers to save the original timeline. By doing so, he becomes the king of all the timelines and renames his kingdom to Yggdrasil.