![]() When Martin got COVID, production designer Kasra Farahani and his writing parter Jason O’Leary finished work on Episode 3, which Farahani directed at the end of the production schedule.īut while Martin was the head writer for Season 2 of “Loki,” and was a semi-regular presence on the London set, he was not the showrunner - a distinction unique to Marvel Studios, which has to date approached its TV series for Disney+ through a feature film model that affords the last word to producers and directors rather than writers. So I decided, ‘Okay, I probably need to birth each of these scripts myself to try to hold this thing together.’”Īs the production began to pick up steam, on-set writer Kathryn Blair joined Martin to complete Episode 4. “Essentially, we’re making three Marvel films and that can spin out of control. “These things can be so ungainly,” he says. With so many interweaving storytelling threads unspooling this season, Martin decided that he had to write all six episodes of the season. Gareth Gatrell “I Would Love to Have More Control Over Everything” But I think what you can wrap your head around is, well, What can we trust about what He Who Remains said and what can’t we? I don’t think we know, right? We’re figuring all of that out now.” “The loom is one of those things that’s like, ‘How’d that work before? How was all of this setup prior?’ Trying to wrap your head around that can be a bit of a headache. “I want you to be questioning,” Martin says. While OB is responsible for designing the vast majority of the TVA’s gadgetry, the temporal loom was supposedly invented and built by He Who Remains - a very nerdy sentence that provokes an even nerdier question: What was the timeline like before the temporal loom? Well, what if there’s somebody that’s been down there just for a couple hundred years doing all of this stuff and he’s hunky dory because he loves what he’s doing? He’s surrounded by all his gadgets. At the TVA, nobody’s aging time is just kind of standing still. They love the technical aspects of their work and they’re solely focused on that when they’re doing it. Like, OB just popped into my head as somebody like my uncles. ![]() “That’s a very particular kind of person. “I come from a family of engineers,” he says. So who are the people that are working down on the lower levels?” “We see that it is this broad expansive place. “I felt like in Season 1, we’re on just a couple of different levels,” he says. The character grew out of Martin’s interest in broadening the scope of the TVA as an institution. ![]() Gareth Gatrell “I Want You to Be Questioning”Įasily Martin’s biggest addition to Season 2 was Ke Huy Quan as Ouroboros (aka OB), a technician who lives in the lowest depths of the TVA as the head (and, it seems, the sole employee) of the Repairs and Advances Department. Given that Loki himself is the god of mischief, this dichotomy plays right into how “Loki” the series has aimed to deconstruct one of the most popular characters in the entire Marvel Cinematic Universe. It all comes down to the idea of chaos versus order - which makes a lot of sense, because we’re dealing with a lot of chaos.” “Can people change? Can institutions change? What happens when that system breaks down, and you have to build a new system?” Martin says. It’s part of Martin’s overarching theme to Season 2, to examine what happens when the characters and the TVA itself are pushed to their breaking points. “Problems always come up in those situations that nobody could have predicted, because the system was taking care of them, silently.” “When dictators are toppled, when systems break down, chaos ensues,” Martin says. The cataclysm is the direct result of the decision Loki’s variant Sylvie (Sophia Di Martino) makes in the Season 1 finale to kill the TVA’s creator, He Who Remains (Jonathan Majors) - which precipitated the creation of the multiverse.
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