A Clever Theory Suggests That The Cliffhanger of Loki Season 2 Is Actually Setting Up A Long-Awaited Marvel Cinematic Universe Sequel
The conclusion of the second season of Loki may contain a cryptic clue that points to the continuation of one Marvel Cinematic Universe Phase 4 Disney+ series as well as the return of an unknown antagonist.
There was a subtle connection between the conclusion of Loki season 2 and a previous Marvel Cinematic Universe Phase 4 project, which hinted at a promising future for a well-liked new antihero.
As a result of her awakening in the Void toward the end of the Phase 5 season, the future of Ravonna Renslayer in Loki season 2 is left open to interpretation.
With the potential for additional development of the antagonist Rama-Tut and the continuation of Ravonna Renslayer’s story from Loki season 2, the likelihood of production of a second season of Moon Knight appears to be more likely than it has ever been as well.
Because of the cliffhanger that was left at the end of the second season of Loki, it is possible that the much-anticipated sequel to one of the most successful Disney+ episodes from Phase 4 has been hinted. As a standalone series inside the Marvel Cinematic Universe (MCU), Loki was produced by Marvel Studios. Although it did not have a clear connection to the larger franchise, it did establish significant ideas that have been investigated in later Marvel Cinematic Universe ventures. Notably, the first season of Loki was the one that introduced the multiverse to the Marvel Cinematic Universe (MCU). Since then, Spider-Man, Doctor Strange, the Scarlet Witch, and Ant-Man have all explored the multiverse in subsequent installments. In addition, the conclusion of the second season of Loki teased viewers with a cryptic connection to a character that had only been just introduced, which hinted at a promising future for the well-known Phase 4 hero.
The epic conclusion of the second season of Loki featured Tom Hiddleston’s portrayal of Loki, who, armed with his newly acquired time-slipping ability, fought alongside his comrades at the Time Variance Authority to modify the Temporal Loom so that it could accommodate the volume of new branches that were produced as a result of the loss of the Sacred Timeline. Loki, upon coming to the realization that this was not feasible, proceeded to destroy the Loom and take over its function. He then gathered the branching timelines and assumed the job of the new defender of the multiverse. On the other hand, the destinies of Loki’s other characters were not resolved. Characters such as Mobius, Sylvie, Ouroboros, and Ravonna Renslayer have doubtful prospects in the Marvel Cinematic Universe (MCU), but a new idea may provide an explanation for the subsequent actions of the latter.
Ravonna Renslayer’s Fate In Loki Season 2 Is Left Ambiguous
In the first season of Loki, Gugu Mbatha-Raw made her debut as Ravonna Renslayer. She was initially portrayed as a judge at the TVA; however, she soon became a rogue after discovering that the god-like Time Keepers were a façade. Renslayer collaborated with Miss Minutes during Loki season 2 in order to recruit and influence Victor Timely, a 19th Century variant of He Who Remains and Kang the Conqueror. However, this operation would ultimately result in Renslayer being trimmed by Sylvie and sent to the Void. Renslayer awoke in the Void during the conclusion of Loki season 2, and although it seems as though she was greeted by Alioth, the storyline of what happened to her at the conclusion of Loki season 2 has been left open to interpretation.
Throughout the course of Loki season 2, Marvel Studios deftly concealed a number of connections to Ancient Egyptian culture and the Marvel Cinematic Universe’s Moon Knight series. These connections included Sylvie wearing an ankh earring and Casey listening to Marc Spector’s Staying Awake podcast in the first episode of the second season. In the last moments of Loki season 2, a pyramid can be seen in the distance when Ravonna Renslayer wakes up in the Void. This is another connection that was created throughout the course of the narrative. This is an obvious connection to Ancient Egyptian Pharaoh Rama-Tut, who made his debut in the mid-credits scene of Ant-Man and the Wasp: Quantumania. Kang the Conqueror and his variants have been a significant part of the Loki series, so this is a natural connection.
In Marvel Comics, Ravonna Renslayer and Rama-Tut, a version of Kang the Conqueror, have a peculiar connection to one another. She and the villain formed a love-hate connection during the reign of Rama-Tut, but during the reign of Rama-Tut, Ravonna functioned as the Moon Knight, the avatar to the Egyptian God of the Moon Khonshu. Throughout Kang’s many lifetimes, different versions of Ravonna Renslayer appeared on a regular basis. Oscar Isaac was presented as the Marvel Cinematic Universe’s Moon Knight in Phase 4, and his debut series did include a tease to Rama-Tut prior to his appearance in Ant-Man and the Wasp: Quantumania. As a result, it is possible that the antagonist, and possibly even Ravonna Renslayer, could make an appearance in the Moon Knight season 2 that has not yet been announced.
Moon Knight Season 2 Seem More Likely Than Ever
In the aftermath of the publication of Phase 4’s Moon Knight, there was a lack of communication regarding the possibility of a second season of Moon Knight. This quiet gave the impression that the continuation of the series, as well as Oscar Isaac’s portrayal of the titular antihero, might have been in peril. On the other hand, Marvel Studios has just stated that they will be making significant changes to the Marvel Cinematic Universe’s (MCU) Disney+ series. This change suggests that a greater number of shows will earn second seasons, and that Disney’s streaming platform will debut fewer new characters. It is possible that this is a clue that Moon Knight, which is one of the most popular series on Disney+ during Phase 4, will finally get its much-anticipated second season. This season might continue not only the storyline created by Marc Spector, but also the storyline created by Ravonna Renslayer in Loki season 2.
The second season of Moon Knight has not yet been announced by Marvel Studios, despite the fact that there has been a great deal of speculation about it. As a result, it is not certain whether this potential sequel will be released as part of the Multiverse Saga or at a later time. However, if it were to be released before Avengers: The Kang Dynasty and the conclusion of the Multiverse Saga in 2026, Rama-Tut would be the ideal antagonist to develop in Moon Knight season 2. This is because his existence in Ancient Egypt is closely connected to the pantheon of Egyptian deities that were established in Moon Knight. It is possible that the second season of Moon Knight will be the best opportunity to continue the narratives that were developed in the Phase 5 series. This is because Egyptian iconography continues to resurface throughout Loki season 2.
In the final episode of Loki season 2, cinematographer Isaac Bauman discusses the difficulties that arose during the shooting of Mobius’ final sequence. These difficulties were caused by the unpredictability of natural light in daytime exteriors.
In spite of the objections that were raised, Bauman and the directors adhered to their choice to shoot the sequence as if it were taking place outside during the day, and the outcome was successful.
In the last scene, Mobius takes control of his own life and charts his own course, which ultimately results in a happy ending for the character. This scene is the completion of the character arc that he has traveled throughout the story.
Mobius’ final moment in the Loki season 2 finale nearly presented a significant problem, according to cinematographer Isaac Bauman, despite the fact that it was an emotional send-off for the character. As a result of Tom Hiddleston’s eponymous God of Mischief destroying the Temporal Loom and taking his new position as a watcher over the branches of the multiverse, Owen Wilson’s Time Variance Authority agent made the decision to retire. This left Wunmi Mosaku’s B-15 to lead the TVA in their new mission to monitor all Kang versions. Mobius begins his journey by going to his old house and having a talk with Sylvie, who is played by Sophia Di Martino. After that, he travels to a location on the timeline that is unknown.
When asked about the process of filming the final scene of Mobius in the Loki season 2 finale, Bauman revealed his thoughts in an interview with Screen Rant. Although he initially resisted the idea, the cinematographer ultimately stayed true to the vision that directors Justin Benson and Aaron Moorhead had for the moment, which resulted in him and his team becoming “a f—-ng army battalion” in order to get it just right. The cinematographer revealed that the sequence actually proved to be problematic in terms of dealing with the exterior daytime nature of the shoot. Below, you will find what Bauman has defined:
For a lot of cinematographers, the most high-pressure scenario is always shooting day exteriors. Yeah, you know what I mean. It is simple in the sense that the light is already present, but it is challenging in the sense that your project is supposed to have a very specific appearance, and you have no influence whatsoever over what the sun is doing when you are shooting the scene. It is possible that the sky will be cloudy, that the sun will be shining, that you will be falling behind schedule, that you will be ahead of schedule, and that you will begin filming the sequence hours earlier than you anticipated or hours later than you had planned. Under those circumstances, you are completely out of control of the situation. Given that I am aware of the fact that — I believe that was written into the draft that we shot as the final scene — I am going to be completely honest here. It is true that the moment between Mobius and Sylvie that has dialogue is the final real scene in the show; however, there is some content that you see after that that was added and borrowed from other portions of the program. I was really concerned about the fact that it was a day exterior, and I said to my friends, “Guys, the last scene of the season is a day exterior, and you understand that I have no control over what happens, right?” When it comes to this scene, we are essentially just taking a chance on randomness.
On the other hand, nothing seemed wrong to anyone. I attempted to push back, but it seemed to be the proper thing to do. Aside from that, I’m delighted that we decided to shoot it as a day exterior since it turned out that they were right. However, we did what you often do when you have a major day outside, which is to ask to arrange it near the end of the day so that the light is as gorgeous as it can possibly be. The sun is able to form shadows and cut through trees and other objects more effectively when it is lower in the sky. Additionally, it becomes warmer and more golden as it descends, and it strikes people’s faces and eyes in a manner that is more flattering than when it is higher. Therefore, we requested that it be scheduled for the late afternoon, and the rest of the details were left up to be determined by chance. Because you can kind of see the sun is going to be behind them, it is going to be here at this point then, and it is going to be here a little bit later on, we were very smart about which shots we shot in which sequence. It turned out really beautifully, and we were wise about which images we shot in which order.
When it came to the day, we put in a lot of effort. However, that one of him staring directly at the house with the sky behind him was completely lighted, and the sun was not striking his face. This is an example of an HMI through diffusion, which is something that I virtually never have the opportunity to achieve. I take great pride in the fact that I never light anything outside, but in this particular instance, we had no choice but to do so. After all, you needed that sunshine to be on his face, right? Every single photo, with the exception of the front-on close-up of Mobius with the blue sky, is taken in natural sunlight. With the exception of that shot, every single shot is completely natural, raw, and there is no diffusion or bouncing about. The thing that was the most terrifying was that very final photo, the very last shot that we filmed on that particular day, and the very last shot in the sequence, which I believe is the shot from behind him looking at the home, with the house being out of focus in the backdrop.
Simply put, it is extremely lyrical and lovely, and it has the ideal amount of light. In order to get that photo, the crew worked even harder than they had throughout the entire production. Considering that we are working on a Marvel production, there are three hundred people on the crew. We are not at all the kind of loose, snappy, run-and-gun outfit that you might expect. Considering that we are an f—-ng army unit, relocation is a very serious task as well. The number of individuals and pieces of machinery that need to be relocated in order to make room for something that was previously occupied. However, this crew was able to comprehend what it was that we were attempting to accomplish, and individuals were truly working hard for the very first and only occasion in a period of ninety days in order. A chuckle is heard. That’s what we got.