Loki season finale recap: Post-credits scene, ending of episode 6 explained

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CNET 19 July, 2021 - 11:00am 21 views

Will there be a second season of Loki?

Thankfully, yes. Disney+ has officially renewed Loki for a second season. The streaming service revealed the exciting news during the finale's end credits, when a case file was marked with a stamp saying, "Loki will return in season 2." ELLE.com'Loki' Season 2 Release Date, News, Cast, Spoilers, Trailer

Is Episode 6 of Loki the last episode?

Sylvie and Loki meet the puppet master behind the Time Variance Authority. Sylvie and Loki prepare to step into the Citadel at the End of Time. Loki's time-hopping adventure reached its end Wednesday, with the sixth and final episode of the Marvel Cinematic Universe show hitting Disney Plus. CNETLoki season finale recap: Post-credits scene and ending for episode 6 explained

Who is Kang in Loki?

Who is Kang the Conqueror? Kang was born as Nathaniel Richards in the 30th century on Earth-6311. On Kang's Earth, humanity never suffered through the dark ages, and as a result, the humans there advanced much faster than humans on other Earths did. InverseWho is Kang? 'Loki' Episode 6’s powerful Marvel villain, explained

Is he who remains Kang in Loki?

It's Kang, just like everyone thought. ... This man, played by Jonathan Majors, may look like Kang, but he is one of many variants who fought in the multiversal war. Technically, the character we meet in Loki Episode 6 is “He Who Remains,” as Miss Minutes calls him after an adorable animated jumpscare. Inverse"He Who Remains": 'Loki' changes the TVA creator in a massive way

Loki: Episode 6 Review

IGN 15 July, 2021 - 12:23pm

Loki’s season finale has saved the best for last as it sticks its landing, setting big, universe-altering events on a small stage. It’s a culmination of themes, character bonds and promise that results in a thoroughly engaging yet unexpectedly understated 40 minutes. Fantastic writing and a standout debut performance combine to create an episode of television that should change a universe (or multiverse) forever.

After a brief nostalgia-soundtracked journey through space, the season finale of Loki puts us right where we want to be – the exact moment episode 5 ended. A stunning gothic castle under a pearlescent sky awaits Loki and Sylvie, who are as eager to find out who is behind all of this as much as the viewer at this point. Luckily, we don’t have to wait long to find out.

The tables are turned the moment an elevator door opens, with the variants confused to see a mere man standing before them. It’s an understated but impactful reveal – while the pair may well stand bemused, anyone who has kept half an eye on Marvel casting news will have a smile creep onto their face the moment Jonathan Majors appears on screen. A smile that won’t go away for another half an hour or so.

This is largely due to the stellar writing (some of the MCU’s finest to date) and the joy that Majors seems to take with delivering every line. It’s wonderfully Shakespearian, a stage set by Tom Hiddleston’s Loki but thoroughly stolen by Majors over the course of the episode. Playing the enigmatic “He Who Remains”, the Lovecraft Country star owns the screen, and even if you know not to trust him, you just can’t help but be drawn into him. It’s a mistake that Loki himself fittingly makes.

The way he toys with both Loki and Sylvie is a joy to watch. The villain we expect to become a take on the comics’ Kang the Conqueror acts like a director gleefully watching the script he’s spent an eternity writing being performed for the first time. “We’re all villains here” he states at one point, cleverly relating to them and enticing them with every word. He’s completely in control – up until the point where even he doesn’t know what’s next in the story. After an entire show built around a lack of free will, it’s a fantastic moment where (if you believe him) you’re braced for anything to happen and, crucially, anything feels like it could happen. The entire sequence is a masterclass in tension, built up through engaging dialogue and a heavyweight performance from Majors.

Channeling the zany energy of Gene Wilder’s Willy Wonka with the underlying terror of Denzel Washington’s Detective Alonzo in Training Day, He Who Remains is personable and charismatic, but also feels like a shark lurking in the shallows that could unleash at any moment. In many ways, he’s a parable for the series itself - a fun appointment on the surface, with darkness at its core.

All of this leads up to one final scene for Hiddleston’s Loki and Sophia Di Martino’s Sylvie to clash, kiss, make up, then clash again. Again, the writing and direction is fantastic, leading to the manipulation of both variants, their true natures pitted against one another. The episode’s only action scene is a brief but exciting flurry of blades, which ends in a touching moment that all Sylki shippers out there I’m sure enjoyed greatly – even if genetic similarities of the situation does make me feel a little uncomfortable. Is this allowed between variants? I don’t know. Go for it, I guess.

Of course, this sweet moment for Loki turns bitter almost instantly as the Loki mantra comes back to haunt him. You just can’t trust one, and he really should know that better than anyone. Hiddleston and Di Martino unfortunately don’t have a whole lot to do during the episode when compared to Majors, but they hold their own and act effectively as an audience proxy throughout. Villain monologues full of exposition can often grind things to a creaking halt, but this just isn’t the case here due to the energetic back-and-forth from the trio on screen. Given that almost the entirety of the 40-minute runtime is spent sitting at one desk in an office, that’s no mean feat.

It’s when the episode steps away from this desk that the less exciting aspects of Loki rear their head. Renslayer remains a cryptic character, but not in a particularly fun way. We still don’t know a whole lot about her and the fleeting moments we get with her here don’t do much to address that. The brief revelation of a Renslayer variant is more of a Season 2 set-up (which, of course, was confirmed in a mid-credits scene) than a true plot pay-off. Mobius returns, but Owen Wilson isn’t given his best material to work with, and it feels like a misstep after his emotional exit last week. While these characters can’t just be pushed to the side completely, I did just find myself wishing I was back at the end of time whenever visiting the TVA.

It’s at the end of time where Loki delivers its grandstand finish. Where WandaVision and The Falcon and The Winter Soldier stumbled across the finish line, showrunner Michael Waldron and director Kate Herron manage to cross it with aplomb. Sylvie’s decision is a visually spectacular one that causes literal ripples through time as the branches appear in the stars like cracks in ice. It’s a choice that not only makes complete sense for Sylvie’s character development, but also one that should change the MCU as we know it. For all time. Always.

Loki's Finale Asks If Time Is Inevitable, or Just Marvel Studios

Gizmodo 15 July, 2021 - 12:23pm

In many ways, “For All Time. Always.” feels akin to its immediate predecessor “Journey Into Mystery” in terms of form—a chance for Loki to lovingly swing big at the comic book source material that inspired it, littered with connections of what was, could be, and is to come. But where the two episodes differ quite drastically is that, in spite of its smörgåsbord of nods to comics, “Journey” still stuck to the central thesis of unpacking just who Tom Hiddleston’s reforming God of Mischief was, re-flung onto the arc we saw him undergo across the Marvel movies before Infinity War, reframed in a new and much more intimate light. The season one finale stumbles most when it forgets to draw on that intimacy because it’s far too enchanted with Majors’ “He Who Remains” delivering an extended explanation for what will set up future Marvel movies (and, as revealed in the post-credits, a second season of Loki).

We already know a good chunk of that future. From the rapidly incoming What If...? animated series, and Doctor Strange and the Multiverse of Madness—itself already having brickwork laid by WandaVision’s conclusion—to the third Ant-Man and the Wasp movie that Majors was already cast in, and the many rumors about Spider-Man: No Way Home and beyond, a multiverse is an enticing prospect, one that is laden with potential. The freedom for Marvel, at the apex of its popularity, to tell the sort of stories it lacked both the confidence to tell in the past to push its storytelling beyond a strictly linear canon of events and just tell stories because they’re interesting, rather than because they matter to a distinct adaptive version of its chronology. But the problem with that is that none of these things are Loki.

That potential is all about the future of Marvel’s media, and not the current moment it has in delivering a satisfying conclusion to Loki’s first season—and that’s where “For All Time. Always.” stumbles hardest. It’s a bold decision to have its climactic episode be a tense, extended conversation piece, meaning that no character we’ve come to know quite gets the satisfaction of a bookend to the journeys they went on across the season. It’s there, in fits and starts, as Loki and Sylvie’s repeated defiance of what He Who Remains tells them (in spite of the increasing realization for one of them, at least, that there’s the possibility he’s the least-worst version of a nightmare scenario), culminating in a tragic clash of wills. Loki, having internalized that one version of his future glimpsed in the premiere, cannot bring himself to kill He Who Remains and usher in chaos for chaos’ sake. Sylvie, still haunted by the evils the TVA forced upon her in his name, chooses to stick to her gut and bring about that chaos, tearing her and Loki apart even as they finally make their feelings for each other explicit. It’s a compelling moment, but also just that. A moment, cast under the shadow of the episode’s wider fixation on the implications of things to come.

That’s the funny thing about the future—it’s always ahead of us, promising potential that’s forever out of reach. Time will tell just how satisfying the journey chasing that potential will be, for Loki or otherwise, as we keep running after it. What did you think of the finale?

The 'Loki' Finale Had the MCU's Greatest Character Introduction Ever

Yahoo Lifestyle 15 July, 2021 - 12:23pm

There have been a lot of amazing characters in the Marvel Cinematic Universe, but there actually haven't been a ton of big time introductions. Sure, Tony Stark, Steve Rogers, Thor, and others are great—but we met them all right at the beginning of their own star projects. The biggest introductions, or teases, that we've seen to this point have to be Thanos (first at the end of The Avengers, and then a few more times before Infinity War) and Spider-Man (who first showed up in Captain America: Civil War).

There have been a couple other fun ones (Wanda and Pietro Maximoff at the end of Captain America: The Winter Soldier was a fun one, and the entire Doctor Strange movie was kind of a tease for the villain turn of Baron Mordo), but after the Season 1 finale of Loki, we've got a new winner. After a whole season of hints and teases that Kang the Conquerer would be showing up, the finale finally paid off, as Jonathan Majors made his MCU debut. But while he will be playing Kang, this build-up saw him instead playing a likely variant of Kang. He was referred to by name as "He Who Remains," but the character seemed more like a hybrid of the Marvel Comics figures of He Who Remains and Immortus (more on that in a little).

But after Sylvie made her choice and disposed of He Who Remains, his warning loomed large; Loki, sent back to the TVA, saw that Kang (or, perhaps another sinister variant?) had already taken charge. Majors is set to play the character at the very least in 2023's Ant-Man and the Wasp: Quantumania, but can almost certainly be expected to show up elsewhere.

And what makes this a better tease than any of these other heroes or villains? Well, when we first met Thanos, we knew he was a big deal. But were we terrified? With one He Who Remains line, the tone was set. "If you think I'm evil, well, just wait until you meet my variants," he says. A simple line, but an immediate tone-setter, especially when you have someone selling it as strongly as Majors does. We're not only aware of who's coming—but like Loki expressed upon his return to the TVA, it's pretty terrifying.

In an interview with Marvel.com, Loki head writer Michael Waldron hinted that there would be way more to come for this brand new character.

He sure is. In the comics (first appearance in 1976's Thor 245), He Who Remains has some similarities to the one we saw in Loki; both are sort of the 'final boss' of the TVA, existing in the Citadel at the End of Time. The difference, though, is that the He Who Remains we saw in Loki was clearly a variant of Kang the Conquerer, and killing this He Who Remains sets Kang—and the whole multiverse— loose. The He Who Remains in the comics also wreaked havoc, but appeared as a very old man and created the Time-Twisters, which wound up destroying past universe's by time traveling. (Thor and Jane Foster eventually figure things out, and He Who Remains prevents these Time-Twisters from existing in the first place when he realizes what kind of damage is being wreaked.)

The comic character you may be more interested in learning about is Immortus, who is an older variant version of Kang the Conqueror. Immortus, who first appeared in Avengers #10 in 1964, is a variant of Kang who prunes away timeline branches in order to attempt to maintain order; Kang is vehemently against this.

In Avengers Forever #3, Kang describes the differences between himself and Immortus.

"He calls himself the Master of Time! "Gardener of Time" is more truthful! He prunes away the chronal branches deemed by others to be dangerous, reducing reality to a bloodless meadow! But that's not the way of warriors—of men! I say, let it be a forest! Let it be a jungle!"

That sounds...uh, almost exactly like the character we saw in Episode 6 of Loki. So, well, as we heard in the episode, and saw in its closing moments, shit is hitting the fan. What more can we say at this point?

In short, we'll just have to repeat what He Who Remains/Immortus/Kang said with his final breaths: "See you soon."

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Bring on the slow, thoughtful, long-arc version of Loki

Polygon 15 July, 2021 - 11:06am

The frantic season we got was fine, but it could have been so much more

Episode 2 changed that up, temporarily teasing a completely different show, where Loki learns he has an actual, valuable talent for procedural investigation, and starts to take pride in honest work under his handler Mobius. But by the start of episode 3, that subplot was dropped in favor of a fast-paced space-heist movie involving a little romance and a deadly need to hijack a spaceship to escape a crumbling planet. That plan, too, fell apart less than an hour after it was introduced, in favor of a completely different tone and story, and so forth and so on.

Virtually none of Loki’s season 1 story beats or developments really get room to breathe. The first season keeps the characters in constant gasping motion, never settling on an idea, a setting, or a tone for very long. That’s been fun, in its own way — it certainly makes for a breakneck experience and a lot of sudden surprises. But it’s possible to appreciate the Loki we got, while also, in keeping with the series’ focus on alternate timelines, dream of a completely alternate reality where the show really took the time to let all its ideas fully flower.

It’s pretty common to gripe that Netflix’s Marvel Cinematic Universe series, with their 13-episode runs, devolved into wheel-spinning and time-wasting during the mid-run installments. But season 1 of Loki introduces enough material to support a show at that length. There’s so much important character movement in the series. Given that Loki pulled himself out of his timestream before the significant changes he went through in the movies, he has to go on an entire voyage of acknowledging his weaknesses and his failures, coming to understand his own loneliness and ambitions, and apparently both falling in love with his Variant Sylvie and coming to feel some sense of responsibility for the state of the universe. Sylvie has to go from rage and distrust for everyone to a softer state where she can at least see the potential for connection that Loki and other people might represent. Mobius and his boss Ravonna Renslayer have their own arcs of disillusionment, with each other and with the TVA. And it all whisks by, too quickly to sink in.

And it’s tempting to imagine a version of the show that fully exploits some of its more fantastic and unearthly locations. Loki and Sylvie’s time on the doomed planet Lamentis-1 blurs by with an argument, a few scammy tricks played on the locals, a song, a fight, and a race to an equally doomed spaceship, followed by a moment of hand-holding that’s meant to convey an entire relationship and a moment of emotional shift so profound that it forks the Sacred Timeline. But that setting is as full of potential as any colorful Star Wars world that only ends up serving as a generic backdrop to familiar chase scenes. There’s so much story potential in the prospect of a dueling duo trapped at the end of the world, and trying to find their way out together without losing ground to each other. There’s a literal entire unexplored world suggested in the neon city of Shiroo.

And there’s so much more Loki and Sylvie had to say to each other. It’s notable that during the entire series, Loki never shares any of his history or woes with her, the way she shares with him. That’s because the miniseries doesn’t have time for him to verbalize most of what he’s going through — fans already know his past, the logic says, so why waste time that could be spent on action scenes on having him articulate his familiar pain? But as a result, Tom Hiddleston’s face has to communicate everything about Loki’s internal development, because the dialogue rarely takes time to pin down what he’s thinking or feeling. And his relationship with Sylvie, supposedly life-changing for them both, has to be shorthanded and shortchanged, as he bonds with her without ever baring himself to her.

That emphasis on speed and change over details and development particularly gives short shrift to Sylvie. A differently paced version of the show, more akin to something like Lost or even Jessica Jones, might have taken an episode to show the audience her life, and fill in her backstory beyond “Here’s an image of her being stolen away by the TVA as a child, and a couple of sentences about how hard her life was after that.” It’s certainly notable that the series never really bothers to articulate the details of her cunning plan from the opening episodes. (Step 1, steal reset charges, step 2, underpants gnomes, step 3, attack Timekeepers?) Yes, the action conveys the absolute basics of “distract, then take advantage of distraction,” but the show’s refusal to even look at the dynamics of dropping reset charges wherever she sent them really speaks to the writers’ lack of interest either in her attempted master-stroke, or in the universe outside the TVA bubble.

Above all, there’s so much more entertainment potential in the setup of the Void. Its panoply of squabbling Lokis, competing for dominance and resources, is played as little more than a series of visual gags and rapid reversals. But it’s an authentically fascinating world, ripe for any number of miniature stories of intrigue and manipulation, and certainly full of opportunity for self-discovery for our central Loki. Just the existence of two major factions, one led by Thor-killer Kid Loki and the other led by smug, infinitely betrayable President Loki, suggests so much going on below the surface that the series never has time to explore. The conventional-TV version of the show would certainly take an episode or so to tell multi-Loki-war stories. They might not be crucial to the story’s forward momentum, but they’d certainly be fun — and useful for expressing Loki’s many inner conflicts and possible directions. (As a bonus, they’d be an excellent chance to showcase Tom Hiddleston’s range.)

It’s one of many sloppy moments in the show that only really works for people who want everything to keep moving forward, regardless of how cartoony that makes developments that are written to be emotional and evocative. We’re expected to believe in their connection by the end: Loki is profoundly frustrated when she doesn’t mirror it back at him. ““Really? That’s what you think of me? After all this time?” he snaps at her when she suggests he still wants the power he was seeking just a few subjective days ago. “All this time” is a bizarre thing to evoke for characters who’ve spent so little of it together onscreen. Picture how much more resonant that connection would have been — and how much more believable the Alioth fight might have been — if they’d actually taken the time to share their magic with each other, and gotten to know each other beyond the briefest and most cursory outline of a de rigueur romance.

People who fully enjoyed the exact version of Loki they got would protest that any more detail, any more conversation, or any more time lingering in these backdrop worlds would just be padding. And for them, it would be. That’s a legitimate take on the show, if you’re only in it to see what the next step of the story is, and where it ultimately ends. It’s not that Loki necessarily needed more time to tell the exact story it’s telling, which is ironically (given its many time-jumping technologies) about people who have very little time left on their hands, and are caught in a constant stressed-out rush to the end. Arguably, Loki and Sylvie wouldn’t have even formed the exact connection they formed if they’d ever had time for a conversation longer than shouted banter and meaningful eye contact.

But for other viewers, who enjoy world-building and character-building, and want to have a little time to marinate in the kinds of colorful settings and setups Loki reveals and instantly discards, the entire series feels like regrettably wasted potential for more nuanced and intricate drama. It’s a series of Cliffs Notes, content with the bare bones of all the action, and never interested in the many warm and pleasurable possibilities of the flesh. The MCU has a constant and well-documented issue with focusing more on what’s coming up next than on the story it’s supposed to be telling in the moment. Loki feels like the latest and greatest example of that — a show entirely devoted to the action, at the expense of most of its opportunities for anything but speed. It is what it is, but it’s easy to imagine it being so much more.

Except for Lokigator. He needs no further explanation or elaboration. He’s fine as he is, without a background, with no thoughtful interaction, and without a series of intrigues and schemes to give him more weight. Lokigator is a brief visual gag and a series of grouchy, bitey moods, and he’s perfect as he is.

Sign up for a month- or year-long subscription to catch Marvel’s six-part MCU series

Has Loki Season 2 Already Filmed? Missing Scenes Theory Explained

Screen Rant 15 July, 2021 - 07:52am

The end of Loki reveals the series will return for season 2, and a theory about missing scenes may show it's already been filmed. Throughout Loki season 1, the series has been scant on credits scenes. Ahead of the finale, the most significant credits moment came in Loki episode 4, with an additional scene showing alternate versions of Loki living in the Void at the end of time. However, the Loki finale changes that. In a surprise credits moment in the finale, the series reveals an image of the Time Variance Authority's Loki Laufeyson file. This is promptly stamped with a message saying, "Loki will return in season 2."

The Loki finale perfectly sets up the second season of the show. In the episode, Tom Hiddleston's Loki and Sophia Di Martino's Lady Loki infiltrate the Citadel at the End of Time, discovering a Kang the Conqueror variant called He Who Remains (Jonathan Majors) is secretly behind the TVA. According to the character, the TVA keeps the Sacred Timeline from falling into a Multiversal war, and killing him will unleash countless Kang variants and plunge things into chaos. Lady Loki thinks his story is a lie and kills the Kang the Conqueror variant at the end of the Loki finale. And with that, the Marvel Cinematic Universe's Multiverse begins.

Though it may be a while before season 2, a fan theory (via Twitter) states it's already been filmed. The theory points to an interview (via Variety) with MCU actor Clark Gregg from 2020. According to Gregg, Hiddleston told him there would be "10 episodes or 12 episodes" of Loki. However, Loki season 1 has only six episodes. Additionally, a few scenes from the Loki trailer showing King Loki never made it into the show. With the missing scenes and Gregg's interview, it seems Marvel may have already filmed season 2 in secret.

Unless Marvel makes a statement, there's no way to confirm season 2 is done filming. MCU movies and shows regularly leave footage on the cutting room floor. Though it seems unlikely, it's possible that King Loki was cut from the show. After all, producer Eric Martin already revealed another cut Loki scene. The MCU also plays around with its trailers, constantly altering scenes before they appear in the final show. With King Loki, Marvel could simply be up to some more of its usual trickery.

Loki releases new episodes every Wednesday on Disney+.

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