Loki Season 2: Unveiling Mind-Blowing MCU Easter Eggs and Mind-Bending Timeline Theories!

Summary

Loki season 2 explores the consequences of pruning multiple timelines and its impact on the TVA and the multiverse.

The director, Dan Deleeuw, worked closely with the writers, producers, and cast to maintain continuity and improve the quality of the season. In the second episode of Loki season 2, there are Easter eggs that include nods to Kingo from Eternals and graffiti that ignited speculation among fans.

In Loki season 2, the eponymous protagonist is on a desperate mission to heed the warning given by He Who Remains. Together with Mobius, Hunter B-15, and O.B., Loki navigates the complexities of the TVA and the ever-branching timelines, determining the right course of action. Their search for Sylvie, Renslayer, and Miss Minutes intertwines with the existential dilemma of free will and an impending multiverse war.

Headed by Eric Martin as the season's head writer, Justin Benson and Aaron Moorhead take over as lead directors, succeeding Kate Heron. The star-studded cast of Loki includes Tom Hiddleston, Owen Wilson, Sophia Di Martino, Jonathan Majors, Wunmi Mosaku, Gugu Mbatha-Raw, Tara Strong, and Eugene Cordero. Academy Award winner Ke Huy Quan also joins the second season as a member of the TVA.

Dan Deleeuw Talks Loki Season 2

Dan Deleeuw, the director of the second episode of Loki season 2, was interviewed by our website. During the conversation, Deleeuw speculated on the potential consequences of General Dox's actions in pruning multiple timelines. He also revealed that he incorporated Easter eggs in the episodes, one of which being Eternals' Kingo. Furthermore, Deleeuw shared how his previous work on other Marvel projects aided in his preparation for working on Loki. Surprisingly, he mentioned his belief that the true form of Kang has yet to be unveiled to audiences.

In relation to the multiverse, General Dox's pruning of the timeline branches raises the question of its impact on other established dimensions. Specifically, how does it affect Earth 838, where the events of Old Captain America's branch unfolded, as well as the parallel Spider-Man universes featuring Andrew Garfield and Tobey Maguire?

Dan Deleeuw: We explored various ideas and concepts without getting too specific on who would be involved. However, I did compile a list of similar aspects. It was a fun experience where I had the opportunity to contribute to the visual effects in season 1, witnessing the emergence of the multiverse. In season 2, I was involved in the destruction of the multiverse, which was quite satisfying and significant in terms of the storyline progression.

Undoubtedly, it's a moment of coming full circle! Considering the elimination of all timelines through pruning, what are your thoughts on the implications for the TVA and the multiverse?

Dan Deleeuw: We'll have to wait and see in the upcoming episodes. I don't want to reveal any spoilers, but there are exciting things on the horizon that I'm eagerly anticipating.

Is there a standardized rule book for the sacred timeline in the Loki series or within the MCU?

Dan Deleeuw: Collaborating with the producers, other directors, and writers to maintain consistency in the show was a crucial aspect. The foundation laid by Kate Heron in season 1 was remarkable, especially in terms of world-building. We relied on the concept of the sacred timeline and utilized it as a safe zone in episode 2. Brad's safety was guaranteed as long as he remained on a branch, but we needed to venture beyond that. While we added elements such as time slipping in the TVA, it was essential to maintain the cohesive structure and ideas of the world created in the comics. Hence, working closely with the entire team ensured that the show stayed true to its own unique concepts and remained consistent throughout.

Dan Deleeuw: In terms of the production process for season 2, we built upon the success of season 1 by incorporating Kevin Wright's previous work and Tom Hiddleston's extensive theater experience. As the scripts neared completion, we gathered in the writers room with the writers, Kevin, Tom, all the directors, and the cast. This included bringing in the cast based on their arrival in London and the episodes they were involved in. Throughout the entire day, we discussed not only episode 1 but also episode 2 and the entire season as a whole. This collaborative approach allowed everyone, including Tom, Owen, and Rafael, to contribute ideas and ensure that we maintained a unified vision. The presence of these brilliant minds in the room raised the overall quality of the season to new heights.

The atmosphere felt like a genuine MCU think tank, with everyone sharing their exceptional ideas together.

Dan Deleeuw: It was amazing. When Ke joined us, he sat beside me and whispered, "Is this typical?" And I replied, "This is the usual for these individuals."

I absolutely love Ke as my new favorite character in the MCU, and O.B. portrays him fantastically. Can you provide any insight on the decision to incorporate references to Zaniac, Phone Ranger, and Kingo from the Eternals into the Easter eggs featured in episode 2?

Dan Deleeuw mentioned an interesting incident that occurred while scouting the Noël Coward theater. Kevin Wright suggested placing Kingo's poster on the marquees outside, which was a great idea considering my involvement in the Eternals second unit work. Alongside this, there were additional Easter eggs like Phone Ranger, which could be spotted based on the characters' walking path. Additionally, there were posters of Herbie the Love Bug and other Disney movies from that era, as they used to have multiple runs in theaters back then.

The graffiti choices in London also caught my attention, particularly the phrases "Less than enough" and "All M are brothers." The latter has led to speculation that it may refer to mutants. I am curious to know who is responsible for the London graffiti.

Dan Deleeuw praised Kasra, the production designer, for his genius in creating sets and designing the overall filming. Deleeuw also highlighted the art department's ability to come up with amazing ideas with a story behind them, as evident in the posters seen in the TVA. These ideas are unexpected but impressive when brought to the set.

Do you have any thoughts on the possible connection between the "All M are brothers" concept and mutants?

Dan Deleeuw: The transition wasn't something I had meticulously planned. Interestingly, during my time at university, my humanities teacher discussed a book and shared an interpretation that the author did not necessarily endorse. She expressed to her class, "Well, if it's there, it's there." And it made me think, "Alright, maybe that wasn't the intended meaning, but if that's what they wanted to convey, sure."

Having worked on numerous Marvel projects, how did that experience equip you to step into the role of director for Loki season 2?

Dan Deleeuw attributes his filmmaking skills to his experience working closely with the Russo brothers, designing sequences and battles and learning about storytelling. He emphasizes that a fight scene should not just be a display of superpowers but should contribute to the narrative. He also mentions bringing his creativity and knowledge from working with various artists into his directing role.

He acknowledges the collaborative efforts of Tom and Kevin in setting up the project and emphasizes the importance of maintaining that collaboration with other departments. He highlights the necessity of having a vision, idea, and plan but also allowing room for improvisation and magic on set. While ensuring that the scene stays true to the intended story, Deleeuw expresses gratitude for the exceptional talents of the cast.

In this episode, we are transported back to the glam era of London in the late '70s. It was a time that truly captured the essence of Hollywood Vibe, although set in London, as seen in Loki season 2. The aesthetics and visuals reminded me a bit of Quentin Tarantino's movie, Once Upon a Time in Hollywood.

To create an authentic portrayal of that era, we extensively researched old footage and stills of premieres that took place in London. The Zaniac poster and the marquee on top of the theater were directly inspired by the grandeur of James Bond premieres, particularly Moonraker. We aimed to recreate the impressive size and display on the front of the theater.

Additionally, we wanted to incorporate vintage cars into the scene, further emphasizing the time period. As Loki engages in a competition with Brad, we see him encounter the mods and punks, adding to the vibrant atmosphere surrounding the theater.

So, you dedicated a significant amount of time exploring various items to be incorporated in London for amusement, while I faced a minor obstacle in wanting to include the punks and mods. However, the music scene had seemingly moved past the phase of mods. Nevertheless, as we delved into the year 1977, a band called The Jam emerged, and in '78-'79, Quadrophenia was released. The challenging part of creating time travel movies is selecting the desirable elements and maneuvering them to fit within the different time periods, ensuring that 1977 is included due to the release of Star Wars. Thus, the ultimate goal is to seamlessly intertwine all these elements to the best of our abilities.

I am aware that your team had a think tank to develop the world for Loki season 2. In light of this, I'm curious to know if you have a preferred version of Kang, and if we have already had the chance to witness him.

About Loki Season 2

Loki, accompanied by Mobius, Hunter B-15, and a group of familiar and fresh faces, embarks on a journey through a rapidly expanding and perilous multiverse. Their mission? To find Sylvie, Judge Renslayer, Miss Minutes, and uncover the true essence of free will and one's magnificent purpose.

Check out our other Loki season 2 interviews:

Kevin Wright

Christine Wada

Loki season 2 debuts new episodes on Disney+ every Thursday.

Source: Our website Plus