The first thing they throw at the viewer in the For All Time chapter. Always (1×06) by Loki (Michael Waldron, 2021), the Disney Plus series about the God of Deception that Tom Hiddleston always plays in the Marvel Cinematic Universe, are diverse voices from his superhero past and ours; and spatial images that will be beautiful to those who love television documentaries like Cosmos: A Personal Voyage (Carl Sagan, Ann Druyan and Steven Soter, 1980); and its continuations, A Spacetime Odyssey (Druyan and Soter, 2014) and Possible Worlds (Druyan and Brannon Braga, 2020).
But, at the same time and as they left us expectant in the previous episode, Journey Into Mistery (1×05), we appreciate that they do not delay almost anything to go to the point to solve the great enigma of this strange space-time adventure.
The moment of truth in ‘Loki’
By a composition by Kate Herron that clearly bet on suspense, well underpinned thanks to the Natalie Holt soundtrack, it insists on a simpler rotating plane than the ones we liked so much in the preceding chapter and uses repeated approaches and reversals, it makes us anxious for it.
The explanations that Michael Waldron must give us about what happens, why and the identity of the character behind all this are not few; so we discover that For All Time. Always is a very discursive episode, with that verbiage characteristic of Loki himself but, from what we see, not only his own. Because one would say that the loquacity of the villains, or of their variants, in the face of such an attractive opportunity as that of telling their great breads is a rather irresistible temptation; nor can it seem strange to us that they love to listen to themselves.
In Marvel Studios’ Loki, the fickle villain Loki (Tom Hiddleston) reprises his role as the God of Deception in a new series that takes place after the events of Avengers: Endgame. Kate Herron is directing it and Michael Waldron is the main screenwriter.
See Loki on Disney Plus
We can still remember the lip of the playful Agatha Harkness and her slyness in WandaVision (Jac Schaeffer, 2021); and the truth is that, in that sense, we are not disappointed by Loki’s new intervention. The pity, not very important, lies in the understandable decision of the script and montage of interrupt the fundamental conversation and move us to other relevant focuses of the plot. Maybe Michael Waldron and Kate Herron think For All Time. Always would become a bit monotonous if you kept many minutes focused on resolving concurrency.
The tragedy of narrative honesty
But it is on similar occasions when a film writer shows how juicy and eloquent his dialogues can be; and for this reason we are not bored for a second of that very long sequence of poisonous talk in the failed Damned Basterds (Quentin Tarantino, 2009).
On the other hand, the behavior of Loki and Sylvie (Sophia Di Martino) in the face of the very serious dilemma that arises for the future of the Marvel Cinematic Universe, for its tragic coherence and by not betraying in any way the foundations of their particular natures, it is an unquestionable and overwhelming narrative honesty. Not for that, however, is it prevented from causing us sincere sadness, or precisely for that reason; like giving us a very moving moment.
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But we should not expect fireworks in this sixth chapter on Tom Hiddleston’s God of Deception, who flees in a very conscious way from a trepidation similar to that of the conclusions of WandaVision and, above all, Falcon and the Winter Soldier (Malcolm Spellman, 2021). What is significant here is the intriguing of the story itself, not the only fight choreography. And that tremendous final chill that ends us leading to a second season of Loki.