Original plans for the Void in the latest episode of Loki were originally much weirder, according to show's head of production design. The latest episode, titled "Journey into Mystery," saw the show take a sharp turn into the bizarre and delivered on something that fans had long been anticipating since the show's announcement. The episode focused on Tom Hiddleston's eponymous God of Mischief attempting to escape the Void with the aid of a number of other Loki Variants including Jack Veal's Kid-Loki, Richard E. Grant's Classic Loki, and Alligator-Loki while also reconvening with Sophia Di Martino's Sylvie AKA Lady Loki.
The Void represented one of the more notable locations seen within Loki. In many ways, it was akin to episode 3's Lamentis-1, with the seemingly endless expanse at the end of time having its own unique feel. The fact that it had become a dumping-ground for the Time Variance Authority's undesirables was a major contributing factor to this and also gave the production team a lot to work with. The Void was littered with numerous Easter Eggs and a lot of effort went into ensuring it was the perfect stage for the multiple Lokis to meet.
Inhabited not only by multiple versions of Loki all vying for control, the Void was also home to ball-headed peacock creatures, giant floating heads, and even an all-consuming cloud-entity named Alioth, making it one of the weirder places explored in the MCU. Now, though, it appears the Void was initially planned to be even stranger than it eventually became. In a recent interview with Cinemablend, Loki's head of production design Kasra Farahani described how he initially proposed "a far more Salvador Dali-esque, Dada-esque version" of the Void. You can read Farahani's full comment below:
"We were trying to find moments to infuse The Void with surrealism. So that was the point of the giant heads, and also of the little Void creatures that look like the little peacocks. Originally, at some point, I was proposing a far more Salvador Dali-esque, Dada-esque version of The Void, and it evolved over time. But those bird creatures and heads made it through from the Dada-esque version to the English moors version of The Void."
Salvador Dali was a Spanish surrealist artist renown for his strange art-pieces and paintings involving melting clocks and distorted landscapes. Dadaism, on the other hand, was a European avant-garde art movement in the early 20th century that focused on nonsense and irrationality in their works as means of protesting post-World War One society and capitalism. While the movement was short-lived, it's legacy lives on with the rise of internet memes often considered neo-Dada. With this in mind, one cant help but feel a bit short-changed.
Considering what the Void represents - a point of convergence at the end of time where everything is rendered meaningless - it seems that Farahani's vision would have suited the Void perfectly. Moreover, it would have fit in with the themes of the series and Loki's development as a character. His arrival at TVA had a profound effect on him, discovering that he was always destined to fail and die and that the Infinity Stones that he so desperately sought were little more than worthless trinkets to the TVA. Yet it was only in the meaning Void that Loki found his glorious purpose by aiding Sylvie in her quest.
It's a shame that we never got to see the full extent of Farahani's initial version of the Void come to life as it would certainly have made for interesting viewing, likely akin to the scenes of astral projection and dimension-bending in Doctor Strange. Still Farahani has done an excellent job so far with the series, be it the version of the Void we received or the 1970s-inspired aesthetic of the TVA. No doubt audiences are eagerly anticipating what lurks at the end of time when Loki's finale arrives on July 14th.
Source: Cinemablend
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