#kevin r. wright

[insanityclause]

[lokiondisneyplus]

Warning: This story contains spoilers for the Loki season 2 finale, "Glorious Purpose."

Loki ends with its titular god claiming his throne — just not the one he expected.

The Marvel Disney+ show concluded its second season this week, seemingly saying goodbye to Tom Hiddleston's Loki. In an effort to stop the universe from collapsing in on itself, Loki learns to control his "time-slipping," using it to go back further and further in time. With help from Sylvie (Sophia Di Martino), Mobius (Owen Wilson), and O.B. (Ke Huy Quan), he tries again and again to fix the TVA's temporal loom and prevent a meltdown. But every time he goes back, he fails, and he spends literal centuries reliving the same events over and over.

Eventually, Loki admits defeat and chooses to sacrifice himself to save every universe. Walking toward the temporal loom, he grabs the very fabric of space-time and uses it to build a throne of his own, weaving the threads together to create a tree. (It's a nod to the legendary world tree Yggdrasil from Norse mythology.) With that, Loki essentially crowns himself master of the multiverse, watching over every timeline as a lonely god. It's the ultimate selfless act from one of Marvel's most notorious villains — a villain who once sicced an alien invasion on New York to get his dad's attention.

Here, executive producer Kevin Wright breaks down the series' emotional finale — from the throwback line that Hiddleston improvised to whether this is really the end for Loki.

ENTERTAINMENT WEEKLY: When did you decide this was how you wanted Loki's story to end?

KEVIN WRIGHT: I think we knew in season 1. Once we were going to do a season 2, we knew that Loki would end up on the throne. That was always the easy thing. The question was: How do you want that to feel for the audience? There's a version that's triumphant and super heroic. There's a version where it's an evil turn. But it was always about the emotional journey we wanted people to go on. It was about building that journey to be as cathartic as possible and to feel like a payoff for six movies and 12 episodes over 12 years with this guy. It was always about building that arc to be as fulfilling as possible.

Most of the episode is dedicated to this sort of time loop, where we see Loki trying over and over again to get things right and fix the loom, almost in a Groundhog Day kind of situation. What was fun about getting to do that endless loop?

Even in season 1, we always wanted to do a Run Lola Run thing, but there was never space for it. So once we started going into loops this season in the writing process, we thought, "Oh, let's finally do it." So much of that is total credit to Paul Zucker, the editor of the episode. That montage wasn't scripted per se. We knew Loki was going to be rerunning things, but it wasn't written exactly the way that it played.

A really fun thing, though, was that our cast — outside of Tom — had no idea what we were doing. They understood that he was rerunning time, but we shot a very different ending to episode 4 that was not the real ending. All the cast thought something very different would happen. We would send them away on lunch breaks, and Tom would take his lunch later, and he would just keep shooting with [directors Justin Benson and Aaron Moorhead] with a skeleton crew. There were very few people that fully understood what we were building in that finale. So, for that core team, I think there was a lot of satisfaction when everybody was able to sit down and see how it came together. It just felt like this little secret.

What do you remember most about watching Tom film those final scenes?

Two moments really jump to mind. The first is a little bit of a longer story. There's the scene with He Who Remains, and that was scripted one way. We had this fear, like, "Is this going to feel like we're retreading the same ground as season 1?" Would it be fulfilling? We started shooting one day, and anybody in any creative field will understand this: There are days where the words are right, they way you're doing it is right, but it's just not adding up. Something was missing. We knew we weren't nailing it, and I had to make the call. That is really scary, when your first AD just wants to keep moving, and I said we were going to stop shooting.

Tom went and sat down with our script supervisor and basically did this insane crash course in 30 minutes of every line that had been said on the whole series. Then, he went for a run around the lot at Pinewood [Studios], and when he came back, he was like, "I know what this needs to be now." Then, he and Jonathan worked out what it was going to be, and they sat down with Justin and Aaron and me and Katie Blair, our production writer. They just quickly rewrote this new scene and shot it. It was just the pinnacle of what Tom does. He has such a finger on the pulse of this entire series and how that scene had to go. In a moment, he was able to reconfigure it with all of our collaborators.

The other thing is that final line before he steps out toward the loom, which is the Thor line, which was not scripted. Right before we were going to shoot that, Tom came and pitched it to me, like, "Should we do this?" We were like, "God, why did we not write that?" It was perfect, and it was 100 percent Tom.

I wanted to ask about that line, where Loki turns to Sylvie and Mobius and says he has to do this "for you, for all of us." It's a direct throwback to one of his lines in the original 2011 Thor. So that was a Tom Hiddleston improvisation?

It was 100 percent Tom. We had already done a few takes of the first part of that line, which was, "I know what kind of god I need to be." And on the final take, Tom said, "Hey, can I try this?" As soon as he said it, all of us were like, "This is going to be the take." It almost gave me Truman Show vibes, that final sign-off, looking straight down the camera. But that story gets to the heart of how Tom is always trying to make things better. We just had to build a series that could give him the framework to have those creative pivots. Everyone would just kind of throw their hands up and say, "Geez, this is why this guy is fantastic."

With Loki in charge of the multiverse, this could affect how (and if) we might see Jonathan Majors' Kang the Conqueror in future Marvel projects. For you, where does this finale leave Kang and his future in the MCU?

I'm going to tread probably infuriatingly lightly, but for me — and I know all the filmmakers agree — we think everything is there on screen. I think all the details are there, and there is a lot that people haven't picked up on, or haven't fully understood what is being said. The key to the future is in that conversation with Sylvie, and this doesn't necessarily undo any of those threats. In my mind, it's what Sylvie said: "At least give us a chance. Let us fight that battle for ourselves and define our own destiny."

I also wanted to ask about that final shot of Mobius in Ohio, where he's standing there silently, watching time pass. Why was that the right ending for Mobius?

In the big picture of the show, we wanted this to feel like a real ending. We wanted to give closure on a number of things, and we didn't want to do anything that felt like it was just teeing up a new story. But you could plant new seeds that could become new stories. My feeling with that scene in Ohio is that it's Mobius overcoming a personal obstacle. He just had to go and look. The show is not telling you whether he's going to stay there, or whether he's going to go back to the TVA. I think both are possibilities. But the important thing was the character growth of him going to do the thing he has been avoiding. I think it took what Loki did to cause Mobius to go, "I have this opportunity. This opportunity was given to me by Loki. The least I can do is go."

So that being said, is this the end for Loki? Is this a season finale, or is it a series finale?

I'm thinking of it kind of like a comic run, and this is the end of that comic run. I know [head writer Eric Martin] has said this a lot: These two seasons were two chapters of the same book, and we wanted to close the book. That was a challenge from Owen in between seasons: He was like, "Nobody has the courage to close the book! Let's close the book!"

Again, I speak for myself and not Marvel, but I am certainly pitching ideas of where I could see certain stories going. I think there are a lot of stories you can tell at the TVA, and we are just scratching the surface on that. I would love to see more stories with Loki, and I think Tom would continue to play this character until he is Richard E. Grant's Classic Loki [laughs]. But I don't think that means you need to have this story every year or every two years. It's about doing it when we have a good story to tell. I would love to keep working with these filmmakers.

We built a really awesome team, and if Loki is Breaking Bad, maybe there's a way for this team to keep telling stories with our version of Better Call Saul — whether that's with Sylvie, with the TVA, or with a new Loki. But we only want to do that if we have the right story and it can be just as fulfilling as this one. After all, you can't be the God of Stories if you're not going to tell more stories.

[uhlikzsuzsanna]

Loki S2 | Featurette #3 | The amazing Loki is back | Marvel Studios (2023.09.18)

Marvel Studios’ “Loki” Season 2 launches exclusively on Disney+ at 6:00 P.M. PT on Thursday, October 5

[thenerdsofcolor]

‘Loki’ Season 2 Gets a New Date and Time

‘Loki’ Season 2 Gets a New Date and Time @LokiOfficial #Loki @DisneyPlus @MarvelStudios @twhiddleston @sophiadimartino

Season 2 of Marvel Studios’ Loki just time-slipped into a new launch date: 6:00 PM PT on Thursday, October 5! To celebrate, Disney+ has shared a new featurette with Tom Hiddleston, Sophia Di Martino, Ke Huy Quan, and executive producer Kevin R. Wright discussing what it means to be Loki in this upcoming season. Continue reading Untitled

[mitjalovse]

I discuss Patti Labelle's solo career and I continue to be highly scathing about her works despite some of them being, well, quite great. Still, I might reserve most of my criticism for Patti Labelle's 90's opus but I think the reason for that might be that her 80's could've been hard to top during the time I mentioned, so she settled into a pattern in the latter period. She made many records in the vein of Flame, which are nice, i.e. there's nothing wrong with them, yet this is also a problem. She and her collaborators are professional on them, which could be another issue. I agree, should she pull of something else instead? A good question to add here would be – would she be even allowed to do that? If not, why so?

[pokemon1oadvanced]

“Rest assured, our Loki will be with our Mobius.”

Kevin R. Wright my lawyers will be in contact if this is not the case.

How can I rest assured when you gave me season 2 episode 5?!

[ulkaralakbarova]

An orphaned boy raised by underground creatures called Boxtrolls comes up from the sewers and out of his box to save his family and the town from the evil exterminator, Archibald Snatcher. Credits: TheMovieDb. Film Cast: Archibald Snatcher (voice): Ben Kingsley Eggs (voice): Isaac Hempstead-Wright Winnie Portley-Rind (voice): Elle Fanning Fish / Wheels / Bucket (voice): Dee Bradley Baker Lady Cynthia Portley-Rind (voice): Toni Collette Lord Portley-Rind (voice): Jared Harris Mr. Trout (voice): Nick Frost Mr. Pickles (voice): Richard Ayoade Mr. Gristle (voice): Tracy Morgan Herbert Trubshaw (voice): Simon Pegg Oil Can / Knickers (voice): Nika Futterman Fragile / Sweets (voice): Pat Fraley Clocks / Specs (voice): Fred Tatasciore Sir Langsdale (voice): Maurice LaMarche Sir Broderick / Male Workman 1 / Male Workman 2 (voice): James Urbaniak Boulanger / Male Aristocrat (voice): Brian George Female Aristocrat (voice): Lori Tritel Shoe / Sparky (voice): Steve Blum Female Townsfolk 1 / Female Townsfolk 2 (voice): Laraine Newman Background Boy (voice): Reckless Jack Baby Eggs (voice): Max Mitchell Film Crew: Screenplay: Irena Brignull Director: Graham Annable Adaptation: Anthony Stacchi Novel: Alan Snow Music: Dario Marianelli Animation: Travis Knight Screenplay: Adam Pava Animation: Stephen Bodin Animation: Malcolm Lamont Animation: Matias Liebrecht Animation: Brian Leif Hansen Animation: Payton Curtis Animation: Joon Soo Song Animation: Adam Lawthers Animation: Shane Prigmore Animation: Chris Tootell Animation: Kyle Williams Animation: Mike Hollenbeck Animation: Danail Kraev Animation: Kristien Vanden Bussche Animation: Adam Fisher Animation: Anthony Straus Animation: Sean Burns Animation: Mael Gourmelen Animation: David Vandervoort Animation: Dan MacKenzie Animation Supervisor: Brad Schiff Animation: Kevin Parry Adaptation: Phil Dale Producer: David Bleiman Ichioka Animation: Jon David Buffam Animation: Rachelle Lambden Animation: Gabe Sprenger Animation: Philippe Tardif Animation: Ian Whitlock Animation: Daniel Alderson Animation: Charles Greenfield Animation: Jason Stalman Casting: Mary Hidalgo Line Producer: Matthew Fried Sculptor: Toby Froud Visual Effects Coordinator: Jeremy Fenske Choreographer: Nicole Cuevas Visual Effects Coordinator: Claudia Amatulli Sculptor: Benjamin William Adams Set Designer: Emily Greene Additional Editing: Ralph Foster Visual Effects Editor: Todd Gilchrist Set Designer: Carl B. Hamilton Sculptor: Scott Foster Production Design: Paul Lasaine Production Coordinator: Jocelyn Pascall Editor: Edie Ichioka Art Direction: Curt Enderle Editorial Coordinator: Dave Davenport Art Department Coordinator: Zach Sheehan CG Supervisor: Rick Sevy Music Supervisor: Maggie Rodford Music Editor: James Bellany Songs: Eric Idle Visual Effects Supervisor: Steve Emerson Costume Design: Deborah Cook Production Manager: Dan Pascall Additional Writing: Vera Brosgol Post Production Supervisor: David Dresher Editorial Manager: Trevor Cable Visual Effects Supervisor: Brian Van’t Hul Additional Editing: Christopher Murrie Director of Photography: John Ashlee Prat Set Designer: Polly Allen Robbins Visual Effects Producer: Annie Pomeranz Sound Re-Recording Mixer: Ren Klyce ADR Voice Casting: Barbara Harris Gaffer: James WilderHancock Modeling: Paul Mack Publicist: Maggie Begley Sound Re-Recording Mixer: Tom Myers Production Design: Michel Breton Prop Designer: Alan Cook Animation: Paul Andrew Bailey Assistant Art Director: Phil Brotherton Executive In Charge Of Post Production: Ben Urquhart First Assistant Director: Samuel Wilson Layout: Daniel R. Casey Layout: Simon Dunsdon Orchestrator: Geoff Alexander Set Dresser: Duncan Gillis Third Assistant Director: David J. Epstein Animation: Anthony Elworthy Animation: Dan Ramsay Animation: Jan-Erik Maas CG Animator: Carolyn Vale Digital Compositors: Daniel Leatherdale Digital Compositors: James McPherson Foley Editor: Thom Brennan Production Illustrator: Ean McNamara Sound Effects Editor: David C. Hughes Finance: Erin Baldwin Finance: Jason Bryant CG Animator: Jeff Croke Con...

[alexzalben]

New LOKI trailer, poster, and plot description:

Today, Disney+ released a brand-new trailer and poster to celebrate the upcoming second season of Marvel Studios’ “Loki.”  The first season of “Loki” is the most watched Marvel Studios series on Disney+, and the second season promises new excitement as it thrusts the infamous God of Mischief into a new set of adventures with the TVA.

The series stars Tom Hiddleston, Sophia Di Martino, Gugu Mbatha-Raw, Wunmi Mosaku, Eugene Cordero, Rafael Casal, Tara Strong, Kate Dickie, Liz Carr, Neil Ellice, with Jonathan Majors, Ke Huy Quan and Owen Wilson. Justin Benson & Aaron Moorhead, Dan Deleeuw and Kasra Farahani direct episodes. The head writer is Eric Martin. Kevin Feige, Stephen Broussard, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Kevin R. Wright, Tom Hiddleston, Justin Benson & Aaron Moorhead, Eric Martin and Michael Waldron are the executive producers, with Trevor Waterson serving as co-executive producer.

Marvel Studios’ “Loki” Season 2 begins streaming on October 6, exclusively on Disney+.

[motorsportverso]

24h Daytona 2025

Infelizmente na GTP não tivemos a estreia do Aston Martin Valkyrie LMH

A pole foi da geral e GTP Foi da BMW #24 que surpreendeu com as novas atualizações no M Hybrid V8, na LMP2 da United Autoesports #22 , na GTD Pró  Ford Mustang GT3 #64 e na GTD do Porsche 992 GT3 R #120 da Wright Motorsports

 Na largada o BMW #25 se manteve na frente com Dris Vanthorn 

Momento da rodada de um dos LMP2 da United Autoesports

O líder da GTD Pró nesse momento era o Lamborghini #9 da Pfaff Motorsports que trocou a Mclaren pela marca Italiana em 2025.

Momento em que o Lamborghini SC63 abandonava  na sua estreia nas 24h Daytona que teve muitos problemas apenas completando uma hora de corrida e 34 voltas .

Momento em que Nasr com o Porsche  #7 passava o Tom Blonqvist  com o Acura #60 

A batida do BMW #24 nos Boxes

A escapada do LMP2 #11 da TDS Racing que trouxe a primeira bandeira amarela

A liderança era do Porsche #7 de fabrica com Nick Tandy , com uma batida nos boxes do Dris Vanthorn  com o BMW.

Momento em que o Acura #93 estava parado com Alex Palou

Na relargada Laurens Vanthorn com o Porsche era atacado por Felipe Drugovich com o Cadillac #31

Momento em que Drugovich assumia a liderança

Na GTD a liderança era da Ferrari 296 GT3 da Conquest Racing #34

Momento em que Kobayashi  com o Cadillac #40  da Wayne Taylor assumia aliderança passando Kevin Estre com o Porsche #6 usando os retardatários faltando 19h17min

A escapada do Aston Martin #44 da GTD da Magnus Racing

Na relargada a disputa estava entre o Porsche #7 , Cadillac 31 e o Acura #60

O acidente tendo vários carros inclusive o Cadillac #40 faltando 16h30

Na madrugada faltando 6h33 a liderança na GTP era do Acura  #60 com Dixon

A disputa dos dois Porsche de fabrica  pela 2ª posição 

Na LMP2 o lider era #8 da Tower Motorsports

Na GTD o lider era o Corvette da AWA

A escapada da Ferrari #21 da AF Corse e a Lamborghini #78 da Forte Racing , e a Mercedes #32  da Korthoff que  trouxe mais uma bandeira amarela

Na relargada o Porsche #7  era o líder , e ouve um toque entre o Cadillac #10 da Wayne Taylor com a BMW #24

A parada do BMW #25

O Corvette #91 da TrackHouse Racing By TF Sport  da GTD pró

A liderança nesse momento era do BMW M4 GT3 Evo #1 da Paul Miller Racing 

A disputa da 4ª posição entre o Corvette da TrackHouse com o Porsche #77 da AO Racing

A disputa da 2ª posição da geral e da GTP entre o BMW  #24 com o Dris Vanthorn e o Porsche #6 com Kevin Estre .

[insanityclause]

National Geographic is freshening up its programming slate.

The network has ordered four new series including The Real Finding Nemo and Surviving Pompeii with Tom Hiddleston.

It is the first slate of programming since it emerged that a large number of Nat Geo titles including Life Below Zero and Wicked Tuna were coming to an end.

Surviving Pompeii with Tom Hiddleston is a historical exploration about the eruption of Vesuvius in 79 A.D. and the preserved Roman city it left behind. Hiddleston, who studied Classics at Cambridge University, exec produces alongside his Loki executive producer Kevin R. Wright.

It comes from Plimsoll Productions, which is behind Nat Geo series including A Real Bug’s Life and The Devil’s Climb. Grant Mansfield, Alan Eyres, Helen Flint and Tom Barbor-Might exec produce for Plimsoll and Carolyn Payne exec produces for Nat Geo.

Hiddleston is the latest celebrity to front a Nat Geo series after Chris Hemsworth, who hosted Limitless and Will Smith with Welcome To Earth.

The Real Finding Nemo (w/t) comes on the back of A Real Bug’s Life. It will explore dynamics of life on the reef and beyond via a clown fish.

The series comes from Our Great National Parks producer Freeborne Media, whose James Honeyborne exec produces alongside Tracy Rudolph Jackson for Nat Geo.

Elsewhere, Ryan Reynolds’ Maximum Effort and BBC Studios Science Unit have teamed on Meet The Planets (w/t), an astronomy series that brings the galaxy’s most famous family to life, with the sun as the matriarch, surrounded by her unruly planetary children. It will feature comedy and animation.

Andrew Cohen exec produces for BBC Studios Science Unit alongside Betsy Forhan for Nat Geo.

Finally, the network is expanding its One Day In strand with Diana: One Day In Paris. The three-part series will explore the tragic death of Princess Diana on the 30th anniversary of that paparazzi car chase through a Parisian motorway tunnel.

It follows 9/11: One Day in America and JFK: One Day in America and comes from 72 Films.

It will feature rare archives and interviews with witnesses who have never spoken publicly as it looks at the 24 hours before and after Diana’s death and follow the story through to her funeral one week later.

David Glover and Mark Raphael exec produce for 72 Films alongside Carolyn Payne for Nat Geo and TJ Martin and Dan Lindsay.

All of this comes after Nat Geo axed Wicked Tuna earlier this summer. The Pilgrim Media Group-produced series, which follows a group of fisherman from Gloucester, Masschusetts as they rod and reel fish bluefin tuna, had been airing on the network since 2012 and 13 seasons.

Nat Geo’s Emmy-winning series Life Below Zero is also ending after its 23rd season, per star Chip Hailstone. Spinoffs including Next Generation, First Alaskans and Northern Territories are also ending.

Other titles not returning to Nat Geo include The Incredible Dr Pol, after 24 seasons, and Dr. Oakley Yukon Vet, after 12 seasons.

“These new unscripted series epitomize everything National Geographic stands for — bold, captivating storytelling rooted in world-class research and expertise,” said Tom McDonald, EVP of Global Unscripted and Factual Content. “National Geographic is building on its reputation as the home of the most distinctive factual series from the very best storytellers in the world.”

[lokiondisneyplus]

The easiest way to save the Time Variance Authority and the timelines from imploding on themselves? Why, Time Slip again and again into the same scenario hundreds, if not thousands, or maybe millions of times until you get it right (this is not actually how to save the TVA, but that’s a story for another time…).

The beginning of Episode 6 of Marvel Studios’ Loki is essentially Loki reliving a no-good, very bad day again, and again, and again in hopes of just once getting the Temporal Loom to stop overloading. Loki literally spends centuries trying to figure this out, which means that on-screen everyone at the TVA is reliving the same scenario again and again…and again. And again.

Behind the scenes, that meant that the cast had to film scenes from Episode 4 again (and again and again) to mesh into Loki’s quest in Episode 6. While Loki might be frustrated with having to replay this multiple times the rest of the cast was left very bewildered — mimicking what we see on screen for the TVA characters.

“I think the funniest part of all of that, though, was as we were shooting it, you are essentially replaying that Episode 4 over and over and over again, as performers, as actors, they just start to lose track of days, and where we are in the story and what's actually happening,” Executive Producer Kevin Wright explains to Marvel.com. But taking everything a step further, star Tom Hiddleston was clued into what was happening in the latter half of the season with this constant reply of Episode 4. The rest of his friends at the TVA? Not so much. 

“I would say the way that Episode 4 ended, the way it was shot, our cast, outside of Tom, thought something very different was happening,” Wright adds with a laugh. “We kind of lied to them about what was happening to sell a really insane performance. Up until I think they had all seen the episodes, they had thought something very different was going to happen at the end of 4. I think there was all this extra level of confusion for them, as we're repeating this moment over and over and over again, trying to figure out why that is happening and what is going on.”

And the cast certainly felt this confusion. Season 1 of the series was filmed in order, while Season 2 was filmed out of order, so no one questioned why one scene was being filmed again and again (and again for centuries).

“Sometimes we’re the end before we’ve shot the beginning before we’ve shot the middle before we’ve shot the beginning of the middle and then the end of the middle and then the end of the beginning,” Star Sophia Di Martino jokes. “It’s already a head melt trying to get your head around this series and all the time slipping and to-ing and fro-ing between universes but then shooting out of sequence is like a hat on a hat and the hat is really confusing.”

But Di Martino didn’t care how many times they had to film it because it just meant she got to see her friends every day on set.

“We did a lot of days in [Temporal Core] room, over and over again. There were some really fun times when we were all going a little bit stir crazy, Cabin fever on the edge, but it was really lovely knowing I was going to come to work every and see all those guys every day.”

To the surprise of no one, Tom Hiddleston kept everyone’s spirits up, because as Wunmi Mosaku notes, “He has the whole script in his head at every moment and he can tell you exactly where you were just coming from and where you’re going.”

“He’s always reminding us like, this is the first time even though we’ve shot this a thousand times, this is the first time we’ve done this. The repetition of the scenes was really, really hard to keep the intensity equal as well because it’s a repeated scene. Honestly, some people are just magicians, and I would say Tom Hiddleston is one of those, I don’t know how he keeps happy, and chirpy, he doesn’t dream about [filming] it all night. He keeps the joy in the room.”

Not only was he the cheerleader, but Hiddleston was also working extra hard to keep an air of mystery for the scene, continuing to film while others had left.

“Oftentimes, a lot of that with Tom specifically was shot when the cast would go on their lunch breaks,” Wright adds. “They would all go away, and Tom would stay back with our directors and our camera operator and everybody and kind of just like churn through so many different versions of these. It was weirdly a thing that I think we all had the same idea of what it was going to be, but only Tom kind of had it in his head of how it would end up.”

Don’t worry, Hiddleston always took a lunch, too, as Wright notes, “he just did it later.”

[z0mbicide]

WORLD BUILDING WEDNESDAY MONDAY - rian, gaius, ambrose?? (should this be 3 asks)

rian:

B A S I C S

full name: addison rian taylor

gender: male (ftm trans)

sexuality: demibiromantic, aceflux

pronouns: he/him, they/them

O T H E R S

family: jasmine taylor (mother), richard taylor (father), chase taylor (brother)

birthplace: paradise, ca

job: web designer (until he finds a job in magical society)

phobias: being ignored/neglected (silent treatment, ghosting, etc), the sound of backwards audio

guilty pleasures: shitty 00's reality shows, 80s-90s domestic comedies

(more +gaius and ambrose under the cut)

M O R A L S

morality alignment?: true neutral

sins - lust/greed/gluttony/sloth/pride/envy/wrath

virtues - chastity/charity/diligence/humility/kindness/patience/justice

T H I S - O R - T H A T

introvert/extrovert: introvert

organized/disorganized: disorganized

close minded/open-minded: open-minded

calm/anxious: calm

disagreeable/agreeable: agreeable

cautious/reckless: cautious

patient/impatient: impatient

outspoken/reserved: outspoken

leader/follower: leader

empathetic/unemphatic: empathetic

optimistic/pessimistic: pessimistic (tries his best to be optimistic)

traditional/modern: modern

hard-working/lazy: hard-working

R E L A T I O N S H I P S

otp: x blake

ot3: n/a

brotp: n/a

notp: n/a

gaius:

B A S I C S

full name: aubin gaius borowski

gender: male (ftm trans)

sexuality: bi aroaceflux

pronouns: he/him, they/them, ze/hir

O T H E R S

family: aubin wright (mother), steven borowski (father), kellan borowski (brother)

birthplace: san diego, ca

job: illusory performance

phobias: his sight magic (more of an aversion than an outright phobia but shh), hospitals

guilty pleasures: "old man" music (classic rock), phil collins, celebrity gossip

M O R A L S

morality alignment?: lawful neutral

sins - lust/greed/gluttony/sloth/pride/envy/wrath

virtues - chastity/charity/diligence/humility/kindness/patience/justice

T H I S - O R - T H A T

introvert/extrovert: introvert

organized/disorganized: organized

close minded/open-minded: open-minded

calm/anxious: anxious

disagreeable/agreeable: agreeable

cautious/reckless: cautious

patient/impatient: patient

outspoken/reserved: reserved

leader/follower: leader

empathetic/unemphatic: empathetic

optimistic/pessimistic: pessimistic

traditional/modern: modern

hard-working/lazy: hard-working

R E L A T I O N S H I P S

otp: n/a

ot3: n/a

brotp: & morgan (well.. they'll get there.)

notp: n/a

ambrose:

B A S I C S

full name: ambrose lazarus winchester

gender: male (ftm trans)

sexuality: bi recipromantic, demibisexual

pronouns: he/him, they/them

O T H E R S

family: ingrid winchester (mother), kevin winchester (father), mercedes winchester (sister), alissa winchester (sister), leon winchester (brother)

birthplace: dahlia, ca

job: investigator

phobias: flying (in planes/helicopters), clowns (mostly the scary ones, regular ones are usually fine)

guilty pleasures: maury (and other shows in that vein), judge judy, the non-hit songs of one-hit wonders

M O R A L S

morality alignment?: neutral good

sins - lust/greed/gluttony/sloth/pride/envy/wrath

virtues - chastity/charity/diligence/humility/kindness/patience/justice

T H I S - O R - T H A T

introvert/extrovert: introvert

organized/disorganized: organized

close minded/open-minded: open-minded

calm/anxious: calm

disagreeable/agreeable: agreeable

cautious/reckless: both, but leans slightly more reckless

patient/impatient: patient

outspoken/reserved: reserved

leader/follower: leader

empathetic/unemphatic: empathetic

optimistic/pessimistic: optimistic

traditional/modern: modern

hard-working/lazy: hard-working

R E L A T I O N S H I P S

otp: x milo

ot3: n/a

brotp: & atlas, & aeon, & xander, & asterion

notp: x austin, x atlas, x aeon, x xander, x asterion

[johnbrownnn]

[This story contains spoilers for Loki season two, episode three, “1893.”] When Loki executive producer Kevin R. Wright began to assemble his creative team for the hit Disney+ series’ second season, he knew that production designer Kasra Farahani was an absolute necessity.  Before crafting the series’ signature look in seasons one and two, Farahani climbed the ranks of Marvel Studios as an art director and a concept artist on various MCU projects such as Thor, Guardians of the Galaxy Vol. 2 and Black Panther. He’d even done some writing and directing in between Marvel gigs, so Wright first invited him to join Eric Martin’s writers’ room as a staff writer. That additional role on the show eventually led to a third assignment as director of season two’s third episode, “1893,” which allowed Farahani to design the 1893 World’s Fair in Chicago and introduce this season’s highly anticipated Kang variant, Victor Timely (Jonathan Majors). As far as the show’s bold and indelible production design, Farahani credits Wright, as well as season one’s line producer Trish Stanard, for going to bat for more immersive sets than Marvel Studios would typically build. And now, because of Loki’s acclaimed sets, Farahani seems fairly confident that this approach will become more common on other Marvel projects moving forward. “Specifically, we were building more intact, fully 360 sets, including ceilings with integrated lighting, and that was just something that the studio was unsure about because they hadn’t done a lot of that,” Farahani tells The Hollywood Reporter. “And so it took a lot of convincing. I dare say, I hope, that it’s even going to change things beyond our show in terms of how things are photographed.” At a certain point in “1893,” Loki (Tom Hiddleston) and Mobius (Owen Wilson) need to catch up to Victor Timely, Miss Minutes (Tara Strong) and Ravonna Renslayer (Gugu Mbatha-Raw), and Mobius presents Loki with a tandem bicycle as a means of doing so. But despite anticipating that the Internet would soon be expecting its new favorite meme, Farahani and co. opted to only show the beloved duo on the two-seater bike in the deep background of one shot.  “Even the [deep background] shot that we do have of them arriving on the bike, we really went back and forth on whether we wanted to do that, because it almost is better in our imaginations. The potential for that to happen is almost better than any way it could ever be executed,” Farahani explains.  Below, during a recent spoiler conversation with THR, Farahani also discusses Miss Minutes’ surprising character turn and how the episode’s Balder the Brave reference long predates the character’s one-time inclusion in Doctor Strange in the Multiverse of Madness.  Besides taking place in the same time period as The Prestige and having similar production design and costumes, Victor Timely also has Tesla-like ambitions and a stage performance with manufactured lightning. Now, Kevin Wright told me that you had some Prestige photos on the wall, but how much did it actually influence you? Well, it didn’t influence much architecturally because so much of that was prescribed to us by the setting of the 1893 World’s Fair, but the electrical arcing and the scale and the way they used technology in the context of the 19th century was cool to look at [on the wall].  Owen Wilson as Mobius and Tom Hiddleston as Loki in Marvel Studios’ Loki Courtesy of Marvel Studios Excluding Ant-Man and the Wasp: Quantumania’s credit scenes, Jonathan Majors introduced his third Kang variant, Victor Timely. Did the two of you have considerable discussion about how to differentiate Victor from He Who Remains and Kang the Conqueror? Or did he pretty much show up ready to go with this take? There was a lot of discussion in the writers’ room about figuring out who Victor Timely is and how he was going to be used to service the storyline of the season. We kind of wanted to keep that shrouded in mystery because there was going to be an expectation about what Kang is going to be like. So we wanted to delay the moment of revealing his nature until then. Jonathan showed up with so much work and invention in terms of the Timely character, and some of the conversations that he and I had in the run-up to shooting were about a historical figure named Granville Woods. He was a Black inventor from the late 19th century, and he lived exactly when Timely would’ve lived, basically. He invented so many things, and people were constantly trying to steal them from him. Edison twice tried to take his patents, but [Edison] lost in court and ended up offering Woods a job, which was declined. So he was an important figure that went into Timely as well, but Jonathan built the mannerisms, the physicality, the quirkiness and the specific mix of how he represented intellectual brilliance with social awkwardness, a degree of charlatanism and pathos at the end. (L-R): Jonathan Majors as Victor Timely and Gugu Mbatha-Raw as Ravonna Renslayer in Loki Gareth Gatrell/Disney+ Miss Minutes (Tara Strong) went from the friendly and mysterious mascot for the show to this sinister entity that wanted He Who Remains to transform her into a real person so that they could rule together. Was there any apprehension from above or within about her tonal shift? No, honestly. Not that I’m aware of, at least. Fleshing Miss Minutes out in terms of humanizing her and seeing more of her human desires and aspirations was an idea that Eric Martin put on the wall pretty early. It was one of those ideas that made it all the way through, which doesn’t happen a lot of the time. So, to my knowledge, doing something rich with this character was pretty well embraced right away, and it’s all the more interesting because she’s a cartoon. People refer to reductive characters as cartoons in a pejorative way, and we’re trying to give Miss Minutes, a literal cartoon, these super awkward and complex emotional feelings.  You recreated the season one finale set with He Who Remains’ corpse in rather clear view. Are you surprised you got away with that visual? There was a lot of conversation around how to do that in a tasteful way that wasn’t indulgent or excessive or unnecessarily graphic. It was meant to tell the story of this pretty important detail. The Citadel at the End of Time, which had been exempt from time, was now subject to time due to the events at the end of season one. Decay has set in, and that’s why this place has started to ruin because the effects of time are taking place. So we needed to see that, and we wanted to have this conversation between Miss Minutes and Renslayer. They had this really rough-and-tumble relationship throughout this episode where they are allies of convenience, but there’s no actual goodwill between them. They both betrayed each other throughout the course of the events, and yet, they find themselves relying on one another again at the end. So we wanted to have this conversation about their tacit truce in the presence of He Who Remains, who’s the architect of this animosity in the first place. Balder the Brave was supposed to appear in Doctor Strange in the Multiverse Madness. Yeah. [Writer’s Note: Daniel Craig was reportedly going to play him.] Did that one-time plan have anything to do with the Balder the Brave statue appearing in this episode? Did Loki creator Michael Waldron try to plant that seed in his Doctor Strange 2 script so his friends in the Loki season two writers’ room could sprout it?  Honestly, no. I’ll give you a tip as somebody who worked on the first Thor: Balder was in the script of Thor for a minute at the very beginning, too. But no, first and foremost, that’s about the joke. You see Odin and Thor, and the expectation is that the third statue would be of Loki. But it’s not; it’s of Balder. It’s also about reintroducing Loki, the character himself, and the audience to this notion that Loki is not just somebody who works at the TVA. Loki is a God. Loki has the potential to do massive, powerful, hugely impactful things on the scale that only a God can. The other thing we wanted to do with that diorama was just make an acknowledgement that we’re shooting in the Midway of the 1893 World’s Fair, which consisted of all of these pavilions from different countries. But the truth is that they were pretty reductive and racist at times in terms of how they depicted some of these cultures. And so we wanted to have this notion acknowledged in a line where Loki says, “You can’t reduce an entire culture down to a simple diorama.”  I’m ashamed of myself for even thinking about memeable opportunities, but a medium shot of Loki and Mobius on the two-seater would’ve become a mega-popular meme overnight.  (Laughs.) I know!  Was there a cut of this episode with a more pronounced shot of them riding that bike together? The final cut shows them arriving in the deep background. No, there wasn’t! Even the [deep background] shot that we do have of them arriving on the bike, we really went back and forth on whether we wanted to do that, because it almost is better in our imaginations. The potential for that to happen is almost better than any way it could ever be executed.  Tom Hiddleston as Loki in Loki Gareth Gatrell/Disney+ For my money, Loki has the most inspired and interesting production design in the entire MCU. Did you have to fight for your vision, or were you allowed to go nuts from the start?  In season one, it’s not that we had to fight for the vision, but we had to really make our case, because we were doing things in a way that was very different from a lot of projects within Marvel Studios. Specifically, we were building more intact, fully 360 sets, including ceilings with integrated lighting, and that was just something that the studio was unsure about because they hadn’t done a lot of that. And so it took a lot of convincing, and Kevin Wright and Trish Stanard, our line producer from season one, were instrumental in that. And ultimately, the studio was like, “Okay guys, give it a shot.” So it worked really well in season one, and in season two, we did not have to make that case in the same way. They were on board with the look of the show, and I dare say, I hope, that it’s even going to change things beyond our show in terms of how things are photographed. Shortly before Loki season one, you designed Owen Wilson’s movie, Bliss. Before that movie wrapped, did you mention to him that you’d see him very soon on Loki?  We didn’t know about it, honestly. But on the last night we were in Croatia, we all went to dinner: Owen, myself, the costume designer and a couple of others. We had a blast and ended up swimming in the Adriatic Sea. And then little did I know, just a month or two later we’d be working together again on Loki. ***Loki is now streaming on Disney+. This interview has been edited for length and clarity. Source link