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Loki: ReWriting Our Future

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Is anybody better at bringing people back from the dead better than Marvel?

Whether its Phil Coulson reappearing in Agents of S.H.I.E.L.D. or Natasha Romanoff receiving her first solo film posthumously (albeit as a prequel), Marvel knows how to maximize the characters that fans have grown to love, even after their apparent deaths. Now, after his ‘no more tricks’ fate in Endgame, Loki returns in his own series which promises to have a major impact on the future of the MCU. 

Directed by Kate Herron, Loki begins during the events of Avengers: Endgame and sets the beloved anti-hero off on his own adventure. After escaping from the Avengers and crashing down in Mongolia, Loki (Tom Hiddleston) is arrested by the Time Variant Authority (TVA), a bureaucratic organization tasked with maintaining the consistency of time itself. Because of his actions, Loki is charged with disrupting the primary timeline and sentenced to being ‘erased’ from time itself… that is, unless he helps Agent Mobius (Owen Wilson) to capture an even greater threat to the universal timeline.

After The Falcon and the Winter Soldier sought to challenge their audience, so too did they also lose the ‘appointment television’ vibe that made WandaVision such a success. Loki should change that. Instead of focussing on the weight of social issues or effects of grief, Loki provides a much-needed dose of levity back into the MCU. With an emphasis on fun and humour, Herron has created a series with a tone far closer to the wildness of Guardians of the Galaxy than the gravitas of The Falcon and the Winter Soldier. Fueled by wit and silliness, Loki has a comedic energy to it that is sure to excite fans of the franchise. (Though, it’s worth noting that the first episode is exposition-heavy as the series must explain the existence of an entirely different layer of reality that’s been added to the Marvel canon.)

Without question though, the centre of the show remains Hiddleston. After all these years, Hiddleston is more than ready to step into the limelight as his charisma has elevated the role from standard villain to one of Marvel’s most adored characters. (Has it really been 10 years since he first put on the horns?) Due to the time travel element to Loki, Hiddleston brings the character back to his more mischievous origins and clearly relishes the opportunity to bring back Loki’s shades of grey. What’s more, the casting of Wilson as Agent Mobius also provides a suitable foil for Hiddleston. Known for his more innocent charm, Wilson uses his likeability to balance out Loki’s more menacing humour and the two are instantly one of Marvel’s more likeable duos.

With the inclusion of the TVA, the Marvel universe has changed drastically. With the multiverse beginning to come into play, a realm such as the timestream has huge implications for the franchise moving forward. This is a place where ‘time moves differently’, superhuman abilities are rendered useless and Infinity Stones are literally used as paperweights. (The TVA is also the first official mention of the ‘Nexus’ after WandaVision’s famed commercial segments.) 

Of course, this sort of environment is both stunning and enticing to Loki himself. As he marvels (see what I did there?) at their unbelievable power, Loki is forced to realize how small he may truly be. In this world, time is sacred and the TVA are sworn to protect it from those who would dare to change it. As such, Loki is arrested because his escape was not ‘supposed to happen’, even if the Avengers can seem to pull it off without prosecution. (After all, their transgressions were supposed to take place…) In doing so, the series suggests that every character or person has a lane by which they much adhere. Villains are going to be villains. Heroes will save the world. For the TVA, there is little room for improvisation and everyone must behave as they’re expected to behave. 

However, at the same time, the series offers somewhat of a paradox. (That’s shocking for any time travel series, I know.) While Loki is branded a criminal for his decision to break the timestream, he is also offered the chance to make it right. Instead of seeing him solely as a villain, Mobius sees him as something more and suggests there may be another way. (“I can’t offer you salvation but maybe I can offer you something better,” Mobius says cryptically.) To Mobius, Loki’s criminal history does not negate him but instead highlights his craftiness and ingenuity and could provide a new direction for his life.

For Mobius, Loki’s future is not bound by his past.

With a return to its more mischievous tone, Loki is a welcome return to form for the MCU. With Loki, Herron, Hiddleston and Wilson have created a world of limitless potential that should be an instant hit with fans. It’s always most fun when Marvel takes risks and, while Loki doesn’t exactly stray from the style that has made them a juggernaut, it does provide its most unique character with a whole new box of toys to play with. 

Loki is available on Disney+ on Wednesday, June 9th, 2021.

Wonder – The Beauty in the Beast

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“You can’t blend in when you were born to stand out.”

What a frightening thing the first day of school can be—especially when you’ve been home schooled your whole life because you have a deformity that cannot be hidden. Wonder is a story of outcast and friendship. Though not exactly a tear-jerker, it does have a few weepy moments, not because of the characters’ pain, but because we see hearts open up so that they can see beyond the external appearance.

Jacob Tremblay as “Auggie” in WONDER. Photo by Dale Robinette.

Auggie Pullman (Jacob Trembly) had a problem birth and several surgeries that have resulted in a face filled with scars and deformity. He prefers to wear an astronaut helmet when he is in public. Younger children cry and run when they see him. He has been sheltered at home by his mother (Julia Roberts), father (Owen Wilson), and older sister Via (Izabela Vidovic). But going into middle school seems the right time for him to start going to school with others. It not just that he knows no one, but because of how he looks, no one wants to be a friend. As the school year progresses, some discover things about Auggie and themselves that will bring them together.

While Auggie is the center of the story, we discover that various other characters have flaws that are less obvious than Auggie’s face. Yet those flaws are just as devastating to their search for acceptance and happiness. If those flaws become evident, those characters could become outcasts, just as Auggie is. On the other hand, if we can see beyond the faults we can discover gifts that others have to share.

Jacob Tremblay as “Auggie” and Julia Roberts as “Isabel” in WONDER. Photo by Dale Robinette.

Although the cruelty that children are capable of is a key part of the story, it certainly isn’t a character flaw that is limited to them. Everyone makes judgments about other people that build walls between us and them. Maybe it is about race, or social class, sexuality, religion, or looks. How do we choose who we will be friends with? Do we shy away from those who are in some way outwardly different?

One of Auggie’s teachers gave them monthly precepts—short sayings to build character. One of those precepts was said to be found in an ancient tomb: “Our deeds are our monuments.” That is an important idea to keep in mind as we watch the children—and some adults, make choices of how they will relate to Auggie.

From L to R: Owen Wilson as “Nate,” Julia Roberts as “Isabel,” Jacob Tremblay as “Auggie,” Izabela Vidovic as “Via” and Danielle Rose Russell as “Miranda” in WONDER. Photo by Dale Robinette.

I think it is also worth noting that Jesus was someone who not only welcomed, but sought out outcasts. One of the criticisms of his ministry was that he was “a friend of tax collectors and sinners”. Even some of those closest to him were “tainted”: fishermen, a tax collector, women of shady morals. To follow in his way is to be willing to welcome and befriend the outcasts among us.

Photos courtesy of Lionsgate Entertainment

3.23 Revving up CARS 3

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This week, Steve welcomes Alan Sharrer to talk about CARS 3, Pixar’s return to the world of… well… cars!  Lightning McQueen is slowing down and feeling the pressure to retire but does he have one last race in him?  The guys talk about the power of mentoring, legacy and personal value.  PLUS, their kids weigh in with their thoughts as well!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.23 Cars 3

A special thanks to Alan, Kaitlyn and Anders for joining us on the show!

Cars 3 – We Need Each Other

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The film Cars opened with a blank screen as Lightning McQueen pumped himself up for the upcoming race: “Speed.  I am speed.”

The film Cars 3 opens with a blank screen as Lightning McQueen pumps himself up for the upcoming race: “Speed.  I am speed.”

If there’s nothing else you take from this review, know that the third installment of the Pixar animated series returns to its original roots, eschewing the 007-like escapades of the second film.

I’ve always been a fan of the anthropomorphic cars, but always felt cheated that the second film was more about the wisecracking sidekick Mater than Lightning and his role in the Cars universe.  Our Steve Norton felt the same way and recently posted a list of items that would make the new film a good one.  Happily, this version brings back the whimsy, excitement, and fun, along with a darker theme that will resonate with adults.  It’s pretty formulaic and sputters in places, but is still worth a theater viewing.  The kids, of course, will eat it up regardless of when and where they see it.

As I mentioned, the plot is reminiscent of the original film.  Lightning (voiced by Owen Wilson) is still quite successful on the Piston Cup tour and has even found a few friends along the way.  But he’s straight up blindsided in a race when Jackson Storm (Armie Hammer) comes out of nowhere and wins, setting up a seven-race winning streak.  Jackson is part of a new generation of cars that are able to drive faster and train better than Lightning, forcing the older generation to retire.  Of course, Lightning wants to win at all costs, so he pushes himself to the limits in the last race of the season—and violently crashes (this scene caused one kid in the viewing to scream “Oh, no!” in panic).

Lightning has to figure out what to do, and instead of doing something, he throws a pity party in Doc Hudson’s garage.  Hudson (the late Paul Newman) ‘died,’ so Lightning is left with the lovable cast of characters in Radiator Springs to encourage him to keep going.  A phone call from the owners of the Rust-eze team convince him to train at their new facility in Florida, so he heads out and finds a state-of-the-art facility, spearheaded by new owner, Sterling (Nathan Fillion). Sterling loves Lightning, but secretly believes his days are up, seeing him as a way to market all sorts of products.  However, Lightning wants to keep racing and is willing to use the fancy technology to get faster, including a fancy high speed simulator.  The trainer for all the cars is a shiny yellow speedster named Cruz Ramirez (Cristela Alonzo), who sees Lightning as her senior project.  When things don’t work out in training, Sterling gives Lightning one chance to win—or retire to the life of a marketer.

Cruz comes along for the ride and endures the life of a car in a demolition derby where Miss Fritter (Lea DeLaria), a school bus on performance-enhancing-fuel (okay, not really), runs the show—and even steals the spotlight from Lightning and Cruz. Soon, Lightning realizes that Doc Hudson had to have a mentor, so he and Cruz travel to Thomasville GA to find Smokey (Chris Cooper), an old truck reminiscent of Mater (Larry the Cable Guy).  Once there, Lightning makes a discovery that may change his life.  Perhaps the race in Florida means more than anyone thought possible . . .

As always, Pixar continues to push the limits of technology with their animation, which is jaw-droppingly photorealistic throughout. While Cars 3 returns to the ways of the first film, it doesn’t quite reach its level of fun.  Laughs aren’t as prevalent and the subject matter is darker (the crash, for example).  You’re not going to hear Lightning yell “Ka-chow!,” but at least the tractors make a return.  Cruz is a fantastic addition to the ecosystem and little girls will gravitate to her character.  I also appreciated the nods to the first film—especially the loving tributes to Doc Hudson.  Chick Hicks (Bob Peterson) is still obnoxious and smacks Lightning down every chance he gets.  Thankfully, Mater is relegated to a minor character, as he’s best in small doses. But Sally (Bonnie Hunt), Lightning’s romantic interest, is basically a throwaway character for the second consecutive film.  This was an opportunity wasted.

Director Brian Fee provides a story replete with themes of overcoming obstacles, thinking outside the box, the need for others, and empowerment.  Regarding the need for others, it’s important to have people in your life who can laugh with you, cry with you, cheer you up, and push you to be the best you can be. The Bible has something to say about this topic in the book of Ecclesiastes: “Two are better than one because they have a good return for their labor. For if either of them falls, the one will lift up his companion. But woe to the one who falls when there is not another to lift him up” (Ecclesiastes 4:9-10 NASB).  In the case of Lightning and Cruz, the two create a symbiotic relationship that pays dividends for each before the film’s credits roll. Without each other, the two fail in their individual pursuits and goals.  It’s a great reminder for us in our fast-paced, hectic lives.

There is an animated short before the film entitled Lou that will bring back memories of the schoolyard bully.  It’s well done (as the shorts tend to be). And don’t forget to stay through the credits!

 

Zoolander No. 2: Blue Steel is Back, Right?

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zoolander2

Fifteen years ago, Ben Stiller and Owen Wilson delivered Zoolander, a film that ridiculously satires our thoughts on beauty, modeling, and humanitarian inclinations. It was dumb – but it seemed to be dumb on purpose. In fact, it was critically and commercially a success! But fifteen years later, Zoolander No. 2 comes across much like the signs that Derek and Hansel are forced to wear early in the film, “old” and “lame.”

After everything about Derek Zoolander’s life comes crashing down, he and Hansel escape into isolation. But when they are lured out of hiding for a big payday (and to avoid Hansel’s ten partners’ pregnancies), they discover that Zoolander’s son isn’t ‘pretty,’ that Mugatu (Will Ferrell) is still out for power, and that the world thinks they’re over the hill. Thanks to Penelope Cruz’s Interpol agent, they have some chance of fighting against the forces of evil fashion.

Expecting the film to be funny, I was reasonably disappointed. Sure, it boasts a list of celebrities unseen outside of, well, anything: Sting, Katy Perry, Jerry Stiller, Kristen Wiig, Neil deGrasse Tyson, Kiefer Sutherland, Benedict Cumberbatch, Justin Bieber, Ariana Grande, John Malkovich, Alexander Skarsgard, MC Hammer. MC Hammer! But it feels like an extended SNL skit aimed at incorporating all of these people, rather than a plot that is intentionally funny – or coherent.

Hopefully, there won’t be a third film, because Zoolander’s character has been stretched as creatively (and mentally) as he can. He still thinks his kid is a mistake but he recognizes beauty isn’t just being skinny (even if he does have to categorize him as “plus size”). And we’ve got the strangest rewrite of the Genesis story ever – even if it literally doesn’t make any sense from a storytelling (or religious) perspective.

Instead, maybe you should go back to “helping people who need help.” It’s a good start.