Murphy's Multiverse

Category: Reviews

  • REVIEW: ‘What If…?’ Season 2 Review

    REVIEW: ‘What If…?’ Season 2 Review

    In a shocking bit of risk-taking Marvel Studios, nine new episodes of their canonical animated series, What If…?, are set to roll out daily over the holiday season. The first season of What If…?, which streamed in 2021, was a fun exploration of the multiverse that sometimes failed to fully capitalize on its subversive premise. The creative team of director/executive producer Bryan Andrews and writer/executive producer AC Bradley returned for Season 2 and significantly upped their game; however, despite attempting to go “further outside the box”, the series still feels far too boxed in at times.

    Following the premise of the Marvel comic that debuted in 1977, What If…? explores the repercussions of changes to key moments in the Marvel Cinematic Universe. Narrated by the omnipresent Uatu, the stories in the anthology take place at points all around the Multiverse where any and everything should be possible; however, for a series that takes place in an infinite multiverse of possibilities, the scope of the stories told in Season 2 of What If…? occasionally still feels far too limited.

    (L-R): Dr. Wendy Lawson/Mar-vell, Bill Foster/Goliath, Black Panther/King T’Chaka, and Hank Pym/Ant-Man in Marvel Studios’ WHAT IF…?, Season 2 exclusively on Disney+. © 2023 MARVEL.

    That’s not to say that Season 2 is a disappointment; in fact, it’s far from it. It’s reasonable to postulate that 7 or 8 of the 9 episodes of the sophomore season are better than 2/3 of the first season of the series. Episodes like “What If…Doctor Strange Lost His Heart Instead of His Hands?” (and let me tell you, that doozy of an episode remains vitally important into Season 2), “What If…Ultron Won?” and What If…Zombies?” truly embodied the nature of the work that could be done in telling stories across the Multiverse and Season 2 has many more episodes of that caliber. “What If…Happy Hogan Saved Christmas?”, “What If…Hela Found the Ten Rings?” and “What If…The Avengers Assembled in 1602?” are spectacular examples of the sort of stories that can be told when the creators unshackle their imaginations and, quite honestly, set out to have some fun. Each of the episodes mentioned above is arguably of higher quality and more enjoyable than any episode of Secret Invasion. And, it may turn out that one of them may be more consequential to the narrative tapestry of the Multiverse Saga than the disappointing live-action series.

    Season 2 also ventures into groundbreaking territory by telling an original story with an original character. In what stands as unequivocally their most bold and audacious adventure yet, Andrews and Bradley introduce the Mohawk hero, Kahhori, into the Marvel Cinematic Universe in “What If…Kahhori Reshaped the World?”, the sixth episode of the season. An episode four years in the making, it’s clear from the opening moments–which see Asgard destroyed by Surtur in a Ragnarok set far before the events of the 2017 film–that the story set to unfold will blaze its own trail. “What If…Kahhori Reshaped the World?” not only tells the story from the point of view of the Mohawk Nation–indeed the First Nations characters in the episode speak in Kanien’kéha–but it also introduces an all-new in-universe mythology (which includes the beautiful Mohawk Skyworld), wonderfully reimagines the powers held within the Tersseract/Space Stone and finds its villains in European colonizers. The episode is beautifully animated, wonderfully inventive and in every way the epitome of the kind of stories the premise of What If…? allows for. And because it exists it also shines a light on some of the issues the series still faces.

    Kahhori in Marvel Studios’ WHAT IF…?, Season 2 exclusively on Disney+. © 2023 MARVEL.

    To the point, if Marvel Studios can produce an episode with the singular ingenuity and quality of “What If…Kahhori Reshaped the World?”, what if…they were as creative all the time? The poster child of this dissonance in Season 2–as it was unfortunately was in Season 1–is the Captain Carter-centric episode, “What If…Captain Carter Fought the Hydra Stomper?”. Once again, Captain Carter, the lead of the ENTIRE series, gets done dirty by the studio’s boring choice to retell Steve Rogers’ MCU story chapter by chapter but with Peggy as the woman out of time. If last season’s episode was Captain Carter: The First Avenger, this one is Captain Carter: The Winter Soldier with Steve Rogers’ Hydra Stomper taking the place of Bucky Barnes. While things truly are not beat for beat as they were in The Winter Solider, the beats resonate far too much with that film, right down to pairing up Peggy with Black Widow. Fortunately, Andrews and Bradley remedy it by giving Carter an original and wonderful role in the 2-part finale which is one part awesome (Episode 8: “What If…The Avengers Assembled in 1602?”) and, once again, one part a little less awesome (Episode 9: “What If…Strange Supreme Intervened?”).

    The finale makes a less-than-shocking reveal about the true nature of one of the series’ lead characters–at least it’s not shocking if you’re following along with the MCU’s ongoing Multiverse narrative–and introduces the evocative conceit of “Universe Killers.” An amazing idea, the nature of which seems fully congruent with a show exploring the infinite multiverse…until it unfolds on screen. In an infinite multiverse full of an infinite number of potential Universe Killers, they are almost all Variants of characters we’ve already seen with the exception of a one-second shot of a Thor Hulk mash-up that looks like the one Donny Cates dreamt up for Banner of War. While it’s more likely than not that Marvel Studios’ One Above All, Kevin Feige, has a list of characters that don’t get to make their MCU debuts until he’s ready to roll them out, spicing up the Universe Killer trophy gallery with an Apocalypse here, an Onslaught there or a Doom up in the corner somewhere shouldn’t be off limits.

    Strange-Supreme in Marvel Studios’ WHAT IF…?, Season 2 exclusively on Disney+. © 2023 MARVEL.

    Ultimately, however, even though if much like the first season the finale isn’t bulletproof-maybe it’s because trying to thread a story through it is antithetical to the anthological nature of the series but the finales of both seasons have certainly fallen short of greatness–Season 2 of the series is a marked improvement over Season 1. The creative team of Andrews and Bradley seems to have found a winning formula in which playing with influences from beloved films such as Blade Runner and Die Hard, exploring different genres and true innovation combine to make a wonderful addition to the MCU’s Multiverse Saga and allow the besieged studio to end 2023 on a high note.

    About What If…? Season 2

    The Watcher returns to season two of Marvel Studios’ What If…? when the animated series
    begins streaming on Disney+ on Dec. 22. And in the spirit of the holiday season, fans are
    invited to unwrap a new episode nightly for nine nights.

    With a new episode debuting nightly beginning December 22, season two of What If…? continues the journey as The Watcher guides viewers through the vast multiverse, introducing brand new and familiar faces throughout the MCU. The series questions, revisits and twists classic Marvel Cinematic moments with an incredible voice cast that includes a host of stars who reprise their iconic roles. Featuring fan-favorite characters this season like Nebula, Hela and Happy Hogan, episodes are directed by Bryan Andrews (eps 2-9) and Stephan Franck (ep 1) and written by AC Bradley (eps 3, 4, 5, 8), Matthew Chauncey (eps 1-3, 7, 9) and Ryan Little (eps 6, 8). The animated series is executive produced by Brad Winderbaum, Kevin Feige, Louis D’Esposito, Victoria Alonso, Bryan Andrews and AC Bradley. 

  • REVIEW: Season 2 of ‘Reacher’ is a Triumphant Throwback

    REVIEW: Season 2 of ‘Reacher’ is a Triumphant Throwback

    *NOTE: This spoiler-free review covers Episodes 1-3 of Season 2 of Reacher. All 3 episodes debut on December 15th.*

    Alan Ritchson has found his home. After trying his hand as a pair of superheroes and voicing a Teenage Mutant Ninja Turtle, the mammoth Ritchson has found a character he nearly perfectly embodies in Jack Reacher. Based on the works of author Lee Child, Reacher follows Ritchson’s nomadic military police investigator who dispenses equal parts brains and brawn as an “avenging angel.” The 8-episode first season of Reacher was incredibly well-received by critics and audiences alike in early 2022 and the new season, adapted from Child’s 2007 novel, Bad Luck and Trouble, doubles down on everything that made Season 1 such as a hit with dads all over the globe.

    Like Season 1, Reacher Season 2 makes a strong statement as an intentional antithesis to modern action franchises. Neither hyper-stylized like The World of John Wick nor full of adrenalized stunts like the Mission: Impossible series, Reacher is undeviating in the pursuit of purpose and predictably principled. Nothing about Reacher requires the audience to pay particularly close attention to detail, the villains are neither subtle nor nuances and both the series and the title character work methodically and joyfully through whatever impediments are introduced to solve the problem at hand. To that end, Ritchson gets to flex his mental muscle as well; despite his bullish physique and demeanor, Reacher is always the smartest guy in the room. Reacher presents a wonderfully full-bodied bouquet with hints of 80’s action films such as Commando and Cobra upfront with a tight, underlying structure of Columbo.

    While Emmy-nominated showrunner Nick Santora was smart enough to veer too far from the formula that made Season 1 such a hit, the choice to adapt Bad Luck and Trouble, the 11th book in Childs’ series, does add a little more to the show in terms of a stronger supporting cast and to Ritchson‘s Reacher by humanizing him a bit more. The season opens with Maria Sten’s Neagley, who played a solid supporting role in Season 1 as one of the only characters to have a shared history with Reacher, contacting her old boss with some bad news: one of their old Army buddies was tortured and dropped from a helicopter. Their investigation quickly leads them to conclude that a bad man is out to get the members of Reacher’s old Army MP Unit: the Special Investigators of the 110th. As Reacher and Neagley track down the other members of their old unit, they continue to uncover clues that lead them down the road to a much bigger mystery.

    Serinda Swan (Inhumans, Coroner), who plays the saucy Karla Dixon, and Shaun Sipos (Krypton, Outer Range), whose wise ass David O’Donnell serves as a wonderful foil to Reacher’s straight-man routine, work well as newbies whose connections with Reacher allow the audience to get to know the tough guy a little more. Teamwork makes the dream work and Reacher’s team of Special Investigators help transmute their old boss into something more than just a rageful ronin who is all-too-happy to rid the world of wrongdoers. In this case, that wrongdoer is Shane Langston, a character seemingly pulled directly from a late 20th-century action movie, whose commitment to corruption has put him on a collision course with the unstoppable, American knight errant. And to make Langston feel authentic last century, the series cast Robert Patrick, the face of one of the 90s greatest villains, in the role…and then dropped a T2 reference in case you missed it.

    Season 2 of Reacher smartly hold on to the recipe that made the first season a wide-ranging success while adding just the right amount of accouterments to make it feel like a truly new chapter. Ritchson leans even harder into his portrayal of the stoical character yet maintains enough charm to elicit a few laughs in between the beatings. An unabashed ode to 20th-century action films and the tough guys that inhabited them, Reacher Season 2 is a triumphant throwback.

    About Reacher Season 2

    Reacher Season Two begins when veteran military police investigator Jack Reacher (Alan Ritchson) receives a coded message that the members of his former U.S. Army unit, the 110th MP Special Investigations, are being mysteriously and brutally murdered one by one. Pulled from his drifter lifestyle, Reacher reunites with three of his former teammates turned chosen family to investigate, including Frances Neagley (Maria Sten); Karla Dixon (Serinda Swan), a forensic accountant for whom Reacher has long had a soft spot; and fast-talking, switchblade-wielding family man David O’Donnell (Shaun Sipos). Together, they begin to connect the dots in a mystery where the stakes get higher at every turn, and that brings about questions of who has betrayed them—and who will die next. Using his inimitable blend of smarts and size, Reacher will stop at nothing to uncover the truth and protect the members of his unit. If there’s one thing Reacher and his team know for certain, it’s
    that you do not mess with the Special Investigators. This season, get ready for Reacher and the 110th to hit back hard.

    Based on Bad Luck and Trouble, the 11th book in Lee Child’s global best-selling series, Reacher Season Two stars Alan Ritchson in the title role of Jack Reacher, with Maria Sten, Serinda Swan, and Shaun Sipos as key members of the 110th MP Special Investigations Unit. Rounding out the cast are Ferdinand Kingsley as A.M., a mercenary that homeland security refers to as a “ghost;” Robert Patrick as Shane Langston, head of security for a private defense contractor with a questionable track record; and Domenick Lombardozzi as tough NYPD detective Guy Russo.

    Reacher is produced by Amazon Studios, Skydance Television, and Paramount Television Studios. Based on the novels by Lee Child, who serves as an executive producer, the series is written for television by Emmy-nominated writer Nick Santora (Scorpion, Prison Break), who also executive produces and serves as showrunner. In addition to Santora and Child, the series is executive produced by Don Granger, Scott Sullivan, and Adam Higgs, with David Ellison, Dana Goldberg, and Bill Bost for Skydance.

  • Arlyn Reviews ‘Diary of a Wimpy Kid Christmas: Cabin Fever’

    Arlyn Reviews ‘Diary of a Wimpy Kid Christmas: Cabin Fever’

    Just in time for the holiday season, Disney+ has released a new Diary of a Wimpy Kid animated movie. Loosely based on the 2011 book Diary of a Wimpy Kid: Cabin Fever, Diary of a Wimpy Kid Christmas: Cabin Fever follows Greg on mischievous winter adventures with his best friend Rowley while also enjoying Christmas with his family. It may not be a direct adaptation of the book, but it keeps many of the same storylines and overall is another solid entry into the animated franchise.

    With the movie debuting during the holiday season, it’s key that it touches on some traditional holiday themes. When a big snowstorm shuts everything down it forces Greg to spend time with his family at a time when he wants nothing more than to be away from them. Another one of Greg and Rowley’s typical dumb ideas leads to a series of events that brings Greg face-to-face with the driver of a broken snow plow. Their interaction leads Greg to realize that being with his family isn’t the worst thing in the world and he learns to start to cherish those moments.

    (L-R): Manny (voiced by Gracen Newton), Frank Heffley (voiced by Chris Diamantopoulos), Susan (voiced by Erica Cerra), Greg (voiced by Wesley Kimmel) and Rodrick (voiced by Hunter Dillon) in Disney’s DIARY OF A WIMPY KID CHRISTMAS: CABIN FEVER, exclusively on Disney+. © 2023 20th Century Studios. All Rights Reserved.

    From a kid’s perspective, Christmas is too often all about presents and that’s definitely something Greg deals with in this movie. For most of the movie, Greg is obsessed with this year’s “best gift ever”: a gaming system. Also in typical kid fashion, Greg justifies his snooping and grows paranoid about his elf on the shelf observing his behavior. Greg’s obsessive behavior over the present ultimately leads Greg to learn the most important lessons about the holiday season, not everyone is as fortunate as him, and giving is better than receiving.

    Author Jeff Kinney’s continued creative input into the movies allows him to tweak the storylines for the new medium and for modern times. Aimed at younger viewers, Diary of a Wimpy Kid Christmas: Cabin Fever offers laughs and lessons wrapped up in a cute animated package delivered on Disney+.

    About Diary of a Wimpy Kid Christmas: Cabin Fever

    Get ready for the Wimpiest Christmas ever! The original animated adventure, Diary of a Wimpy Kid Christmas: Cabin Fever, the latest animated movie based on Jeff Kinney’s wildly successful book series, will premiere December 8, 2023, exclusively on Disney+. The film is a hilarious and heartfelt holiday tale centered around everyone’s favorite disaster-prone middle school student.

    The winter holidays are turning out to be especially stressful for Greg Heffley this year. After
    accidentally damaging a snowplow while making a snowman with best friend Rowley Jefferson, Greg worries he won’t get the new video game console he so desperately wants for Christmas. To make matters worse, he gets snowed in with his family, including his grumpy older brother Rodrick and annoying younger brother Manny.

    Directed by Luke Cormican (Teen Titans Go!) and written and produced by Jeff Kinney, Diary of a Wimpy Kid Christmas: Cabin Fever features the voices of Wesley Kimmel (The Mandalorian), Spencer Howell (Ithaca), Chris Diamantopoulos (Beavis and Butt-Head), Erica Cerra (Power Rangers), and Hunter Dillon (Deadpool 2).

    The Characters

    (L-R): Manny (voiced by Gracen Newton), Frank Heffley (voiced by Chris Diamantopoulos), Susan (voiced by Erica Cerra) holding Elfrendo, Greg (voiced by Wesley Kimmel) and Rodrick (voiced by Hunter Dillon) in Disney’s Diary of a Wimpy Kid Christmas: Cabin Fever, exclusively on Disney+. © 2023 20th Century Studios. All Rights Reserved.

    Wesley Kimmel (The Mandalorian) is the voice of Greg Heffley, the disaster-prone middle
    school student having a stressful winter holiday. He is trying to be on his best behavior so he will get the new video game console he desperately wants for Christmas but gets into trouble with best friend Rowley Jefferson when they damage a snowplow while innocently building a snowman.

    Spencer Howell (Ithaca) voices Rowley Jefferson, who enjoys spending the winter holidays
    inside sipping hot cocoa and singing Christmas carols with his parents, eagerly anticipating the arrival of Santa Claus on the big night. He is an unwilling accomplice to Greg Heffley’s snowplow cover-up.

    Erica Cerra (Power Rangers) is the voice of Greg Heffley’s mother, Susan, who lives for the
    Christmas holiday season and all its traditions. She is happiest when the family can celebrate the Yuletide season together.

    Chris Diamantopoulos (Beavis and Butt-Head) voices Frank, Greg Heffley’s father, who is so busy anticipating a massive winter snowstorm that he is missing out on the family’s holiday
    traditions that are so important to his wife Susan.

    Hunter Dillon (Deadpool 2) is the voice of Greg’s older brother, Rodrick Heffley, who is spending the winter holidays lazy and unmoving from the couch until he decides he will find the culprits wanted by the police so he can take the reward money for himself.

    Lisa Ann Walter (Abbott Elementary) voices Gabby, who drives a snowplow to make extra
    money for the holidays. She is a single mother to her son Tyler, who is the light of her life.

    Elfriendo is a homemade doll from Susan Heffley’s childhood who keeps watch over children and reports any bad behavior to Santa and his elves at the North Pole.

    The Filmmakers

    Jeff Kinney (Writer/Producer) is the #1 New York Times bestselling author of the Diary of a
    Wimpy Kid series and the Awesome Friendly Kid series. He is a six-time Nickelodeon Kids’ Choice Award winner for Favorite Book and has been named one of Time magazine’s 100 Most Influential People in the World. He spent his childhood in the Washington, D.C., area and moved to New England, where he and his wife own a bookstore named An Unlikely Story.

    Luke Cormican’s (Director) numerous animated credits include over 78 episodes of Teen Titans Go, on which he served as writer, producer, and director, as well as The Penguins of
    Madagascar    , Brandy and Mr. Whiskers, The Buzz on Maggie, and Ren and Stimpy Adult
    Party Cartoon, among others. Cormican also served as head of story on Teen Titans Go to the Movies.

    John Paesano (Composer) is a BAFTA-winning, Emmy®-nominated composer with a range of credits that include The Maze Runner film trilogy, both of PlayStation’s Spider-Man videogames, 50 episodes of Marvel’s Defenders and Daredevil and 100 episodes of
    the How to Train Your Dragon series (for which he won an Annie Award).

    https://youtu.be/A–mvyHQhcc
  • REVIEW: ‘Loki’ Season 2 Finale

    REVIEW: ‘Loki’ Season 2 Finale

    The reinvention of the God of Lies is complete. With a thrilling and satisfying finale to the second season of Loki, Tom Hiddleston has roundly addressed critics’ concerns (including my own) about how much could possibly have been left in the tank for a character who had already done so much. Hiddleston’s dedication to the character, a fantastic creative team that was fully dedicated to some ridiculous sci-fi concepts and held fast to their vision and a deep cast combined to provide 12 incredible episodes of streaming television including an astounding season (and likely series) finale.

    Though it won’t be the last time we see Loki, “Glorious Purpose” was a wonderfully fitting bookend to the entire series (you’ll recall that the first episode of the series was also entitled “Glorious Purpose”). Loki’s journey into mystery led him right back to where Season 1 ended and put him face to face once again with He Who Remains who, sort of unsurprisingly, revealed that every step of said journey–including his own “death” and all the crazy bits that went on in Season 2–where engineered by him. Having spent centuries trying to save every reality and totally recreating himself along the way, Loki’s refusal to take He Who Remains final offer as an answer leads him to make a choice that nobody, including himself, could have ever predicted. No longer the conqueror or mischief maker, Loki reanimates the dead branches of reality and sets himself about the endless task of giving life to others at the expense of his own freedom. Free will outside of the boundaries set by He Who Remains.

    (L-R): Owen Wilson as Mobius, Wunmi Mosaku as Hunter B-15, Eugene Cordero as Casey, Sophia Di Martino as Sylvie, Ke Huy Quan as O.B., and Tom Hiddleston as Loki in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

    As a finale to a season and the series, the episode lands because it ties up so many of the series’ threads nearly as neatly as Loki ties together the branched timelines. Loki is the MCU’s longest experiment with longform narration to date and it’s a tall task for any writing room to keep everything together over the course of nearly 12 hours of a series. Thankfully despite series creator Michael Waldron moving on, the studio maintained continuity by handing the keys to the show to one of Season 1’s most key contributors, Eric Martin. Resultant of that, Season 2 picked up where Season 1 left off, took the audience on a wild romp and then dropped them right back off in a familiar place with the main character in a familiar predicament.

    For as complicated as the sci-fi weirdness of the show seemed to be, in the end, Loki remained a fairly straightforward character study of one of the MCU’s greatest characters. And powered by one of the MCU’s greatest talents in Hiddleston, Loki became the warm light for all mankind to share. In that regard, Loki was more than just a series that maintained continuity over 12 episodes; it was a reverential ode to every beat that has made the character so popular since he first appeared in 2011’s Thor. In just about every way, Loki is the MCU’s “Breaking Good” full of all the things that make stories great. Perhaps, in his big chair at the end of time, this was a story written by the God of Stories himself.

  • Mini Book Review: ‘Super Boba Cafe’ by Nidhi Chanani

    Mini Book Review: ‘Super Boba Cafe’ by Nidhi Chanani

    Super Boba Café by Nidhi Chanani


    Thank you to Amulet Books for a free review copy of this one.

    SUPER BOBA CAFE is a cute middle-grade graphic novel. It’s a strange little book with a great message at its core. The story follows 13-year-old Aria as she spends the summer in San Francisco visiting her grandmother, Jing Li. She runs a boba cafe that is home to a cat named Bao and fails to bring in many customers, until Aria sets out to fix her grandmother’s marketing issues. When Bao unexpectedly gives birth to eight kitties, Aria finds the perfect solution – or so she thinks – by turning the boba cafe into a kitten cafe. But what she doesn’t know is that her grandmother is harboring a secret that can impact the entire city.

    The strongest aspect of SUPER BOBA CAFE is admittedly its artwork. The characters are drawn well, and the scenery is wonderfully constructed. Unfortunately, the story isn’t nearly as strong. That, of course, isn’t to say it’s not enjoyable – it is. The book is out there, but Aria’s storyline is one that is something many young adults experience daily. It’s an important lesson about trust, using the internet, and understanding how cruel others can be.

    SUPER BOBA CAFE is an enjoyable book that is a must-read for young adults. At the center of its chaotic storyline is a story with plenty of heart and a lesson all kids should learn.



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  • REVIEW: ‘Loki’ Episode 5 Shows the Power of the Longform Narrative

    REVIEW: ‘Loki’ Episode 5 Shows the Power of the Longform Narrative

    As Loki nears the completion of its second season, it continues to stand as the nonpareil of what Marvel Studios television was initially intended to be and should endeavor to continue to be. Thanks in no small measure to the continued brilliance of Tom Hiddleston, the show continues, in modern parlance, to slap, slay and dish out weekly bangers. While it’s illogical, even preposterous, premise all but guarantees it’s not for everybody, Loki continues to embrace its place as a true sci-fi show and seems with each passing episode to submerge further into those depths. To that end, it’s no surprise that Season 2’s fifth episode, “Science/Fiction” turned out not only to be the most convoluted and nonsensical entry to date but also one of the series’ best and maybe one of Marvel Studios’ best episodic efforts.

    As the penultimate episode of Season 2, “Science Fiction” does what penultimate episodes do. It makes real the consequences of the season’s ongoing concerns about the stability of the Temporal Loom which finally gave out in Episode 4’s cliffhanger. The destruction of the Loom, which refines raw time into the timelines where people live their lives, resulted in both the destruction of the TVA and, as revealed in Episode 5, the destruction of those timelines. When the Loom isn’t Looming, entire realities and their inhabitants are reduced to spaghetti, something that not even Sylvie, the colder-hearted Loki Variant, can abide. The loss of the Temporal Loom also puts Loki back in a familiar predicament as his time-slipping, thought to have been remedied in the season’s first episode, resumes albeit with an interesting twist as he bops about to different realities where familiar faces from the TVA are living their lives. By episode’s end and with the help of Ke Huy Quan’s A.D. Doug, PhD, Loki is empowered to control time-slipping, creates a bare-bones TVA and puts himself on the path to make an effort to save all of reality in the Season 2 finale. Job well done.

    (L-R): Wunmi Mosaku as Hunter B-15, Owen Wilson as Mobius, Tom Hiddleston as Loki, Eugene Cordero as Casey, and Ke Huy Quan as O.B. in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

    However, as part of Marvel’s longest longform episodic narrative to date, “Science/Fiction” serves as a linchpin not only for Season 2 but for the series as a whole. Season 2 head writer Eric Martin’s presence as a key contributor to Season 1 allowed for continuity of the creatives behind the series which means that the big ideas from the first six episodes are far from forgotten. Indeed, “Science/Fiction” may have just put Loki and Sylvie right in the same boat in which they found themselves when they met He Who Remains in the Citadel at the End of Time. In that meeting, He Who Remains offered the pair the power to be curators of the Sacred Timeline as his replacement as the man behind the curtain of the TVA. By assembling an all-new, all-different team and learning to slip time at will, Loki has put himself in position to prevent the destruction of the TVA (man, the time wimey stuff here is so fun–and painful–to think through) and, with no leadership left to speak of, take control. Take a bow, Al Ewing, as Loki is about to become the God of Stories.

    There is, however, one fairly large question left to ponder as we wait for Episode 6: is Loki really writing this or any other story? Should Loki end up in charge of the TVA, isn’t that right where He Who Remains wanted him? Of course, as the God of Stories, Loki may somehow find a way to use Victor Timely’s Multiplier to allow the newly branched timelines to continue on but if not, if the decision is made keep all of reality intact by refining time back into the Sacred Timeline, won’t He Who Remains have accomplished exactly what he wanted? While he’s not the most trustworthy narrator, He Who Remains made it very clear that he was the architect of Loki’s existence and it was through his machinations that Loki ended up in the Citadel in the first place. As this Variant of Loki who has come so far on his road to redemption finally finds himself on the precipice of becoming the hero of all time, always, would Marvel Studios dare take his agency from him and reveal that he’s simply been He Who Remains marionette all along? With one episode left to go, it looks like we’ll all find out together just how much of this story has truly been written for Loki and how much has been written by him.

  • Mini Book Review: ‘Billie Blaster and the Robot Army from Outer Space’

    Mini Book Review: ‘Billie Blaster and the Robot Army from Outer Space’

    Billie Blaster and the Robot Army from Outer Space by Laini Taylor

    My rating: 4 of 5 stars

    This is an adorable middle-grade graphic novel. That’s the easiest way to describe this book. Billie Blaster and the Robot Army from Outer Space is an out-there, ridiculous story that has just as much wit as it does heart. It did take me a bit to read this one, but that wasn’t due to the book. Once I was able to dedicate enough time to dive back into the book, I found myself wondering why it had taken me so long.

    Billie Blaster is about a young girl named Billie Blaster who is incredibly smart and enjoys creating over-the-top science experiments; this, of course, isn’t entirely surprising given her parents are both renown scientists. Unfortunately, though, Hector, a student in her class, doesn’t think Billie is worthy of the praise and success she’s had over the years. He’s grown tired of coming in second-place at the science fair every year and sets out to take her down.

    What ensues is a story that is otherworldly, hilarious, and wonderfully strange. While the book focuses on the weird – toilet weasels, fart guns, and evil pigeons – it also takes the time to show the differences between Billie and Hector. As Billie comes to learn, Hector might have a legitimate reason to be upset. Unlike her, he doesn’t have a lab at his hands to develop any and everything he’d like to create. He’s forced to work out of his parents’ house in the same room they do laundry. He works harder than her, because he has to, and Billie is understanding about his desire to be better than her – although, despite her best attempts, Hector is unwilling to reason with Billie.

    Billie Blaster is the perfect book for middle-grade students to read. At that age, it’s all about developing an identity and trying to be the best version of themselves. Billie Blaster is the perfect read for that – and the artwork is pretty great to look at.

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    Editor’s Note: This very is very delayed due to personal tragedies that I’ve had over the past few months. I would like to apologize to Amulet Books for the late review.

  • REVIEW: ‘Loki’ Season 2, Episode 1

    REVIEW: ‘Loki’ Season 2, Episode 1

    In the wake of the widely panned Secret Invasion and the shuffling of Echo into 2024 and Ironheart into who knows when, Marvel Studios’ hopes for streaming success in 2023 rest squarely on the shoulders of the second season of Loki. While it’s foolish to judge an entire series by its first episode, if “Ouroboros” is any indication of what to expect this season from the creative team of writer Eric Martin and directors Justin Benson and Aaron Moorhead, who previously teamed up with Marvel Studios on Moon Knight, Marvel may be able to rest easy.

    “Ouroboros” comes out of the gate swinging. Opening in the moments immediately after the Season 1 cliffhanger, the episode quickly dismisses the most prevalent fan theory about where Loki ended up when Sylvie kicked him through the time door. Whereas the belief was that Loki was transported to an alternate TVA, the first quarter of the episode establishes that he has in fact been transported to the same TVA in the past…and what an interesting past it was. By grotesquely “time slipping”, Loki learns that He Who Remains once openly ruled the TVA before installing the Time Keepers and slipping away to the Citadel at the End of Time. Taken in concert with the recent revelations that all TVA employees are Variants who were ripped from their lives, the very foundations upon which they believed the TVA stood are now entirely reframed as the implications of He Who Remains’ actions become crystal clear. These people’s minds have been wiped repeatedly in the service of the TVA and anything and everything they think they know about themselves is just a fraction of their actual lives.

    Once the episode moves forward under those implications, finding a solution to Loki’s time slipping becomes the central focus of the episode. Finding a solution to that problem leads Mobius and Loki to one of the second season’s key new members in Ke Hey Quan’s Ouroboros. The march to find OB, the TVA’s resident tech guru, not only allows for an exploration of some of the unseen nooks and crannies of the TVA but also time for the series’ marquee characters, Loki and Mobius, to shine. Much of the success of Season 1 came from the chemistry between the two and even under the direction of a new creative team, the pair continues to cook. Tom Hiddleston continues to be so wonderfully charismatic and catalytic as Loki which means that it’s nearly impossible for him to share an awkward scene with anyone and so as funny as his scenes with Owen Wilson continue to be, his split-time scenes with Quan’s OB are equally brilliant. By working together, Loki and OB come up with a solution to Loki’s issue but in attempting to solve that issue, the larger mystery of Season 2 is revealed.

    Owen Wilson as Mobius in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2023 MARVEL.

     In pursuit of curing Loki’s time slipping, OB discovers that the Time Loom, an object which he explains is used to refine raw time into physical timelines, has been overloaded as time broke free following the death of He Who Remains. The second half of the episode ends up being some of the MCU’s best hardcore sci-fi to date as it attempts to address the madness erupting in the multiverse. The back half is full of imaginative set designs and mumbo jumbo jargon (a dial on the ceiling keeps track of the chronons being emitted per hour) that allow for the audience to have some footing in what’s actually taking place. Sci-fi, time travel and mulitversality have never been for everyone but the writing team, lead by Martin, did an admirable job of making it palatable and as relatable as possible under the circumstances.

    While “Ouroboros” solves Loki’s time slipping issue and resolves the Season 1 cliffhanger, it ends on one itself. In the absence of Ravonna Rennslayer, the headless TVA is now subject to the whims of an interesting group of folks led by General (Paradox), Judge Gamble and another fellow with all the energy of Ray Winstone’s Dreykov. Just as Loki is pulled back from the time stream, several brigades of Hunters are seen taking off through a series of time doors into the newly created branches in search of Sylvie. While her location is unveiled in the show’s post-credit scene, the actions of these Hunters and are sure to have some pretty heady consequences for the show and set up one of two ongoing plot points for the season.

    Though in many ways it feels like more of the same (great writing, great characters and timey-wimey mysteries), the opening episode of Season 2 also gives the MCU something brand new. While Loki’s glorious purpose, established over a decade ago in the MCU’s timeline, seems like old news to the audience, it’s important to remember that this Loki Variant was plucked from 2012 where he only very recently attempted to kill the Avengers and sought to rule all of humanity. “Ouroboros” give this Loki room to grow into a new glorious purpose: becoming the hero of all time. From the moment he first appears on screen, Hiddleston plays the part with a distinct desperation we’ve never really seen. Even in the Season 1 finale, there was some hesitancy to become the hero but now, having been Lokied by another Loki, this Loki now seems fully committed to an all-new, all-different path. And maybe, just maybe, the sun will shine on Loki and his brother again at the end of it. If you thought there wasn’t room for more Loki in your life, “Ouroboros” did its level best to make you think twice and set up one hell of a first two-thirds of a season of streaming TV at its best. In an increasingly entropic MCU, Season 2 of Loki seeks to return order and remind us all what’s always been so great about this shared universe.

  • REVIEW: The Season Finale of ‘Ahsoka’

    REVIEW: The Season Finale of ‘Ahsoka’

    With a dense eighth and final episode directed by Rick Famuyiwa, the first season of Ahsoka has come and gone; however, much like seasons of its animated prequel series, Star Wars Rebels, just as much as–if not more than–was left in limbo for the next adventure as was resolved. In many ways, “The Jedi, The Witch and The Warlord” feels much like the second acts in each of the Star Wars trilogies (Attack of the Clones, The Empire Strikes Back and The Last Jedi). Tough choices are made, heroes are separated and there’s a strong sense the bad guys won though a glimmer of hope remains. And so perhaps, given creator Dave Filoni’s deep understanding of the style, structure and rhythm of Star Wars, Ahsoka will eventually be seen as the second act of the New Republic era of stories that Filoni and Jon Favreau have been crafting for Disney Plus and which will eventually culminate in an as yet undated theatrical release. However, as is true about nearly every Star Wars project, its place in the even larger narrative is incredibly relevant as well.

    Taken as a complete series, Ahsoka seems to fill three roles. It serves–potentially equally but certainly simultaneously–as a sequel to Star Wars Rebels, the second act of the New Republic era of stories and a prequel to the sequel trilogy or, at the very least, the Rise of the First Order. Set around 11 ABY, Ahsoka takes place roughly 10 years after the events of Star Wars Rebels and, coincidentally, roughly 10 years before the establishment of The First Order which makes the series–and perhaps the character–the fulcrum on which the fate of the galaxy pivots. Given its equidistance (and there’s no way any of that is coincidental) between the before and the after, it was requisite that it service both the before and the after and the finale did just that. Thus the Talzin Sword, the Mortis gods, Morai and any other Rebels callbacks were just as front and center as Thrawn’s next step in becoming heir to the Empire, the open-endedness of what awaits Ahsoka, Sabine, Baylan and Shin on Peridea and any other foreshadowing of the next story in the New Republic timeline. So just as The Empire Strikes Back is the second act of the original trilogy and the original trilogy is the second act of the Skywalker Saga, Ahsoka finds itself as the second act of a second act because as begun by George Lucas and continued by Filoni, Star Wars stories will always fit a role in a familiar pattern.

    (L-R): Sabine Wren (Natasha Liu Bordizzo), Huyang (David Tennant) and Ahsoka Tano (Rosario Dawson) in Lucasfilm’s STAR WARS: AHSOKA, exclusively on Disney+. ©2023 Lucasfilm Ltd. & TM. All Rights Reserved

    Despite falling into that pattern and feeling very much like the Star Wars fans around Filoni’s age grew up with, Ahsoka also feels like something brand new and all its own. The finale continued Filoni’s career-long crusade to expand the nature of the Force. Sabine finally tapped into the Force (is it stronger there than in the “home” galaxy?), Thrawn and the Great Mothers set a course for Dathomir (what exactly is in that cargo hold?) and Baylan’s last scene teased a potentially monumental deep dive into the origins of the Force through a further exploration of The Ones (is Peridiea where they left The Mother when they went to Mortis?). It also left Sabine, Ahsoka, Baylan and Shin in a galaxy far, far away from THE galaxy far, far away allowing for the potential for stories (past, present and future) to be set there. In that way, and taken as a whole, Ahsoka feels expansive both within the framework created by Lucas and outside of that same framework where it seems Filoni is becoming more comfortable carving his own path. And just as it seems the right path for Ahsoka–as the appearance of Morai indicate–to explore Peridea and all its strange unknonws, it seems the right path for Filoni, as well.

    As the finale of an eight-episode season, “The Jedi, The Witch and The Warlord” did plenty to resolve what was unquestionably the biggest question: will Ezra get home? He did and got to wear his favorite disguise in doing so; however, given Ezra’s eturn went hand-in-hand with the inevitable return of the Heir to the Empire and where the galaxy is bound to end up in a decade, his happy reunion with Hera and Chopper will certainly be short-lived. But Ahsoka’s role in the larger narrative, while still to be fully realized, is clearly greater than one season’s worth of stories but if the first season is any measure of what to expect from more, fans should be excited. If, in fact, Ahsoka is the fulcrum upon which the fate of the galaxy pivots, the finale just tipped the scales: up is headed down and down is headed up and balance will be elusive if not impossible for everyone along for the ride…including you.

  • REVIEW: ‘Loki’ Season 2, Episodes 1-4

    REVIEW: ‘Loki’ Season 2, Episodes 1-4

    Though it’s undoubtedly at least partially revisionist, Marvel Studios has a history of success that seems strongly weighted by the Infinity Saga. The internet is full of talking heads who will tell you that following Avengers: Endgame, the MCU just hasn’t been the same and that the quality of the projects, both theatrical and streaming, has fallen off drastically. 2023 has added fuel to the fire with projects such as Ant-Man: Quantumania and Secret Invasion failing to impress the majority of fans–and even fewer critics–leading to an even louder refrain of “The MCU is dead” than ever before. Leave it to the ultimate agent of chaos and the most entropic entry in the Multiverse Saga to date to restore order to the Marvel Cinematic Universe. The God of Mischief has heard your concerns and Season 2 of Loki answers them authoritatively.

    Picking up directly where Season 1 left off, Loki quickly reframes what fans thought happened in the prior season’s cliffhanger and puts Loki up against the clock. As the MCU builds towards an adaptation of Jonathan Hickman’s 2015 Secret Wars, the first episode–and then again the first four–certainly have the feel of the Time Runs Out prelude Hickman weaved through his Avengers and New Avengers titles. While Season 2 of Loki is certainly no adaptation of those–indeed it seems not to be an adaptation of any particular comic run or set of stories but rather an original idea from the production/writing team of Michael Waldron and Eric Martin–the first four episodes are fast-paced, intense and make it very clear that time is running out for all time. Getting down to brass tacks, the premise of Season 2 is this: the death of He Who Remains has created a multiverse that the TVA simply is not prepared to manage.

    (L-R): Ke Huy Quan as O.B., Wunmi Mosaku as Hunter B-15, Tom Hiddleston as Loki, and Owen Wilson as Mobius in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

    Starting with but certainly not limited to that premise, it’s amazing just how often these first four episodes of Season 2 of Loki work as an allegory for the criticisms faced by Marvel Studios. As He Who Remains’ death allowed the timeline to break free and grow into something far too large and chaotic for the TVA to handle, so has the Multiverse Saga opened the doors to criticism about Kevin Feige and co. potentially adopting a quantity over quality approach with, at one point, 8 projects planned in a calendar year. The technological MacGuffin of the first four episodes, a Multiplier that allows the Temporal Loom to be able to collar and manage the new timelines, provides the impetus for Loki and Mobius to take a trip through time and allows for the introduction of Jonathan Majors‘ Victor Timely. As the buddy cop duo sets off to find a Variant of the man who built the TVA to restore it to its rightful status as a timespace behemoth, so has Bob Iger returned from retirement with a renewed focus on curating and managing projects and characters amid jeers that there’s simply too much content for fans to consume. And as an all-new, all-different Loki is mocked, reminded that he’s a villain, not a hero, and told to stick to what he’s always done, so too do the critics hammer away at Marvel Studios for breaking away from the “Marvel formula.” Much as the future of Marvel Studios seems up for grabs, the first four episodes of Loki’s second season end with a truly shocking cliffhanger that will leave fans suspended in uncertainty…but not before a return to form and a reminder of what these streaming series should be.

    Like its predecessor, Season 2 of Loki allows Tom Hiddleston all the room in the Multiverse to explore the nooks and crannies of the title character. Hiddleston has filled the godly shoes for well over a decade now and as easy as it might be to question what else there might be left to do with Loki, the first four episodes–and Hiddleston’s continued brilliance in the role–provide plenty of answers. Keeping in mind that this particular Variant of Loki, Variant L1130, was created when he escaped with the Tesseract in the aftermath of the 2012 Battle of New York during a botched effort by the Avengers during their time heist, allows the audience to truly see the realtime (sort of, since it technically takes place out of time) evolution of the character. Not far removed from seeking to subjugate all of humanity, Loki now seeks glorious purpose in keeping them free and, as such, Hiddleston finds space for an empathic Loki who recognizes the true beauty and power of humanity–a truly heroic version of the character, though thanks to some fun plot devices is able to get back to some fun magical mischief.

    (L-R): Owen Wilson as Mobius and Tom Hiddleston as Loki in Marvel Studios’ LOKI, Season 2, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

    However, Season 2 is not simply the Tom Hiddleston show. So much of what made Season 1 work so well was the chemistry between Hiddleston and his co-stars, specifically Owen Wilson and Sophia Di Martino and, thankfully, a new creative team did nothing to change that. The Loki-Mobius dynamic is just as strong as always and the fractured relationship between Loki and Sylvie allows for an even deeper exploration of both characters. The brilliant addition of Ke Huy Quan as TVA tech guru Ouroboros will rightfully draw plenty of praise as Quan is an absolute joy in his surprisingly extended role; however, don’t underestimate Rafael Cassl’s saucy X-5/Brad Wolfe who ebbs and flows throughout the first four episodes as an agent of chaos in his own right. Majors‘ brings a definite strangeness to Victor Timely, who isn’t exactly what you think he might be and returners Wunmi Mosaku, Gugu Mbatha-Raw and Tara Strong all get more to do to the benefit of the project as a whole.

    As is always the case with pre-release screenings of Marvel Studios projects, critics and press have not seen the whole series which makes a true analysis of Season 2 of Loki impossible. Simply put, no matter how entertaining the first four episodes are, if the last two drop the ball, the project won’t be seen as a success and that’s not something Marvel Studios can afford at the moment. However, what can be said is that for four episodes, Marvel Studios leaned on one of their strongest and most veteran talents to put together what is unquestionably their best effort–theatrical or cinematic–not only of 2023 but of the entire Multiverse Saga. A combination of strong creative work behind the scenes by writer Eric Martin and the directing duo of Aaron Moorhead and Justin Benson and an enormously talented cast make Loki a fun sci-fi mystery that will fill the Void-sized void you may have been feeling.