For anyone who’s missed out on the actor’s sterling early work in “The Last Black Man in San Francisco,” “Da 5 Bloods,” and HBO’s Emmy-anointed “Lovecraft Country,” perhaps seeing Majors casually perched on a black leather bench was a bit anti-climactic. Without knowing or speculating on what will happen to the variants of He Who Remains, aka Kang the Conqueror, aka the amazing dude played by fresh Emmy nominee Jonathan Majors, I would hope future “Loki” seasons are inspired by his electric presence. The writers observe what works and what doesn’t, and adjust accordingly for Season 2. With a blockbuster film, you greenlight a sequel in the hopes of recreating the magic of the original - sure, you need to be able to continue the story, but the big studios typically just want the same movie, told all over again, only bigger and “better.” But in TV, first seasons are a learning experience. How exciting that return will be depends largely on if creator Michael Waldron and his Time Keepers at Marvel treat “Loki” like a TV show or a movie. Loki will return, and not just in the movies. The closing credits gave Season 2 Marvel’s official stamp of approval, ensuring what we just saw wasn’t a series’ ending. I wanted to beam with pride at our self-loathing boy learning to love himself, but instead, I recoiled in uncomfortable distress.) Still, it’s in that moment, and Sylvie’s ensuing betrayal, that the “Loki” finale delivered enough closure to function well-enough as a season finale - which is exactly what it was. (I would love to know the range of reactions to their climactic kiss. Like it or not, that kind of “do your homework” approach to storytelling is fully part of the Marvel playbook, and for those who care about spotting easter eggs, it undoubtedly made up for any missing emotional resonance in Loki and Sylvie’s (Sophia Di Martino) personal journey. (Its finale, meanwhile, was just a clunky mess.) “The Falcon and the Winter Soldier” painted a murkier reading of its intentions by submitting as a Drama Series at the Emmys, while seemingly setting up a new movie instead of a new season. With “WandaVision,” the first episodic MCU narrative to premiere on Disney+, the finale struggled to live up to expectations in part because it was billed as a limited series, yet never fully functioned as a standalone arc (to say nothing of its issues delaying and addressing Wanda’s trauma). Not ending things is what the superhero storytellers do best, even if “Loki” marks the first time one of their series embraced its own never-ending timeline. On a big-picture level, that makes sense. 'McCartney 3, 2, 1' Review: Paul Leads a Hulu Documentary That's a Musical Commentary Track for the Ages 'Naomi Osaka' Review: Softspoken Tennis Legend Gets a Mild-Mannered Docuseries ![]() To create an intriguing, if imperfect, ending for an MCU TV show, all Marvel had to do was not end anything at all.
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