WandaVision began as a study of mourning through the prism of classic comedies and finished as the genesis narrative of the Scarlet Witch. Wanda’s grief counselling, on the other hand, came at a price. Wanda kept an entire town of people hostage in a seemingly eternal nightmare as she cycled through the five stages. Not only was she not held accountable, but she was also allowed to decamp to an isolated cabin nestled in a beautiful setting.
The Falcon and the Winter Soldier started off as a buddy cop comedy about storied lineages and ended up becoming a Captain America 2.0 origin storey. Sam Wilson pondered the implications of a black guy wielding the famed star-spangled shield before realising that the question he should be asking is whether this historically white symbol is worthy of him.
Simultaneously, its super-powered villains presented a far more persuasive case against nationalism than the main protagonists could. Because Marvel is friends with the Pentagon, its criticism has always been half-hearted, with just a veiled jab at America’s global transgressions in the name of freedom and democracy. Loki, the third Marvel drama on Disney+Hotstar, begins as a time-travel procedural that tells the storey of a villainous redemption. The first of six portions is mostly functional, laying the groundwork for the multiverse’s rules, though inefficiently.
However, as the second half progresses, it promises to be a more creatively cheeky performance. Even in the premiere, Loki turns out to be DB Cooper, the mysterious man behind the only unsolved aeroplane hijacking in history, displaying this cheekiness in the melding of genuine crime and sci-fi. It will, without a doubt, be anything but low-key.