“Humanity, look how far you’ve fallen,” a voice drawled out of the darkness of San Diego’s Comic-Con. In the summer of 2013 actor Tom Hiddleston took the stage in full Loki costume to promote what was supposed to be his last turn as everybody’s favorite Marvel villain in Thor: The Dark World. The already boisterous crowd went absolutely bananas chanting “Loki! Loki! Loki!” as Hiddleston, channeling iconic pro-wrestling heels like “Stone Cold” Steve Austin, fed off the mixture of screams and boos, pointed menacingly at the crowd, and hurled elaborate insults. Go ahead and google “mewling quim” if you’re feeling brave.

It was a star-making moment for an already popular character—one that racked up millions of views online and ensured Hiddleston’s future in the Marvel Cinematic Universe, or MCU. It’s the reason, according to longtime Marvel producer Nate Moore, that Hiddleston’s character escaped death once again in 2019’s Avengers: Endgame to land his very own show, Loki, debuting June 9 on Disney+. “If you’ve ever been to a Comic-Con where Tom Hiddleston makes an appearance,” Moore says, “you see what magic that is.”

The same year Hiddleston turned in the WWE-worthy performance in San Diego, lifelong pro-wrestling enthusiast and Loki head writer Michael Waldron began an MFA program in screenwriting just a couple hundred miles up the California coast, at Pepperdine University. Waldron rode his love for Hulk Hogan and the drama of the wrestling world all the way out from Atlanta to the shores of Malibu. His ride, from there, took him straight to the top. This is how one man’s lifelong love affair with wrestling became critical to the development of Marvel Phase Four.

Less than a decade later, with an Emmy-winning stint on Justin Roiland and Dan Harmon’s fiercely beloved animated series Rick and Morty in his rearview, Waldron has become the chosen favorite of Marvel president Kevin Feige, who was so impressed with the now 33-year-old’s work as head writer on Loki that he tapped him to take over writing duties on the upcoming Doctor Strange sequel. Impressed with Strange, Feige then handpicked Waldron to work on his top secret Star Wars project. With Loki set to make a big splash next week, Waldron shared his unusual inspirations for both Loki and Strange, his rapid climb to the top of the Hollywood heap, and how, really, he just wants to be the next Nora Ephron.

While still a student at Pepperdine, Waldron landed an assistant gig with one of his comedy heroes: Dan Harmon. Stationed outside the Rick and Morty writers room, Waldron was desperate to catch Harmon’s eye and decided launching a softball league would be the key. “What I knew about him before was that he was a guy that would love a bunch of attention, like everybody,” Harmon says. “When he started coaching the softball team, it became obvious that he deserved attention.”

“We were terrible. We were the worst team in Burbank rec league history,” Waldron recalls. “But it was a great opportunity for me to trick everybody into reading my writing.” Waldron leaned on his “Southern roots” to channel Friday Night Lights coach Taylor every week.

“We lost every single game, and he’d take us out to the parking lot and give us this pep talk,” Harmon says. “What was the point of pep talking this terrible team? He kept on, which was a job that you couldn’t accomplish by being ironic or cynical.” One day, fortune smiled on both Waldron and the team when, in the frenzied excitement after their first-ever softball win, Harmon offered Waldron a writer’s assistant job on the fifth season of his NBC sitcom Community. “I look at all the amazing moments I’ve had in my career, and I’ve been so lucky, I don’t think I’ll ever have anything more exciting than that one,” Waldron says.

“He wanted to be a writer and I was like, ‘Too bad. You’re very handsome and charming. Get on the phone and talk to these producers for me,’” Harmon recalls of his early treatment of Waldron. “So there he is on Community as a writer’s P.A. and as a ‘facilities manager’ simultaneously—which is code for fixing things that go wrong in the bathroom.”

Waldron, not content to work in Harmon’s bathroom forever, began pitching a show he wrote while still in school about his first love: wrestling. Starz gave Waldron a crack at it, and in the summer of 2017, despite never having written a script that made it to air, Waldron ran his first writers room. “What I loved about wrestling, even as a kid, was there were stakes,” Waldron says. “If Hulk Hogan turned bad one week, that had big ramifications for the rest of my life, as far as I was concerned.”

The wrestling show Heels was born and just as quickly fell apart. “We couldn’t cast it,” Waldron says. “So much for my meteoric rise. My career’s over. I’m like 29 and really, really languishing. I licked my wounds after Heels went on the shelf and said, ‘All right, let me prove to myself that I can still write.’”

With his eye on impressing the likes of Marvel and Lucasfilm, Waldron took two weeks to whip together the first draft of a time-traveling/sci-fi/romance feature worthy of both Nora Ephron and the Rick and Morty writers room, titled Worst Guy of All Time. Waldron’s team was disinclined to share a copy of the script (possibly because it’s in development or its DNA will be found in some other project he’s working on) but you can read write-ups of it here and here. The story about the worst guy in the world, the girl who was sent through time to kill him, and how they fell, disastrously, in love landed Waldron on the 2018 Black List alongside Emerald Fennell’s Oscar-winning Promising Young Woman. It also caught the eye of Kevin Feige.

Meanwhile, Dan Harmon had finally seen the light. In 2018, Harmon and his Ricky and Morty team decided to staff “blind,” with writers submitting anonymous cold opens for the fourth season of his irreverent, animated journey through time and space featuring a young boy (Morty) and his drunk, Doc Brown–esque grandfather (Rick). “It was such a Sword in the Stone thing,” Harmon says. Someone informed Harmon that the two submissions he identified as “clearly the best” were “both by the same writer and that writer was the guy cleaning your toilets and all other manner of dirty work and trying to develop a Starz show on his off hours.”

Harmon was so impressed that he not only hired Waldron to write for season four, he offered him a showrunner position for season five. “We’re like, ‘Okay. He’s a little green, but he’s moving so quickly and he learns so fast and he’s such a hard worker. We’re crazy for doing it. Let’s take a chance on this kid,’” Harmon says. “He’s like, ‘Guys, I’m so flattered by this. I have a meeting at Marvel this afternoon. I think I might be running a show for them.’ That’s the story of how we loved, semi-supported, semi-discouraged, and definitely lost Michael Waldron.”

Dan Harmon is no stranger to losing talent to Kevin Feige. Longtime MCU directors Joe and Anthony Russo were plucked from Community. And in 2020 Marvel hired another Rick and Morty writer, Jeff Loveness, to write Ant-Man 3. It’s no mystery why. When sitting down for a lengthy interview with Vanity Fair in 2017, Feige was as eager to talk about the Rick and Morty season-three finale as anything else.

“Well, you can’t fight Kevin Feige in the street,” Harmon says. “He’ll just say, ‘Oh, I love that you’re fighting me, this is so wonderful,’ and everyone will start booing you for being a bully. I am honored and validated by the idea that if people leave me, they leave me for Marvel. That’s an amazing legacy.”

When Waldron left for Marvel in 2019, he went with his Rick and Morty experience, his love of wrestling, a time-travel romance screenplay, and very little actual comic book knowledge. This last part might have appealed to Feige the most. The head of Marvel Studios himself didn’t grow up reading comics and has said that someone with an outsider’s approach to a comic book story can be more valuable than a writer stuck in the weeds of back issues. “I grew up a pro-wrestling guy, probably more of a Star Wars guy,” Waldron says, “but my love of Marvel came from the movies.”

When Waldron met with Marvel for Loki, the executive team had already decided to set the show in the world of the TVA (or Time Variance Authority), a sci-fi bureaucratic agency that cleans up any anomalies in Marvel’s increasingly complex and branching timelines and realities.

“That was the sandbox that we had to play in,” Waldron says. “I came up with the emotional engine of the whole thing. The fans of Loki watched him experience a character arc through Infinity War, and in a lot of ways, maybe even arc out. How do we break new ground with this character? What better movies and TV shows did I intend to rip off in each episode?”

Marvel itself solved the “arc out” problem by plucking Loki from earlier in his timeline at the end of 2012’s Avengers. Hiddleston’s character enters the show a time criminal captured by the TVA, and he might, in the end, prove its most valuable asset. Loki, the series, presents a less evolved, more mischievous god of mischief, and Waldron considers Hiddleston’s versatility the show’s ultimate weapon. The ceiling for Loki felt “so high” that Waldron was free to draw on a broad range of films and TV shows to construct Loki’s latest journey through the MCU.

The time-and-space-hopping adventure spirit of Rick and Morty is an obvious inspiration. “At first I was carrying in the Rick and Morty sensibility and I had to recalibrate,” he says. “I’m not writing a 22-minute cartoon. I was watching Quentin Tarantino movies—Inglourious Basterds. Movies that luxuriate in long scenes of dialogue and tension building.” Waldron also rattles off some other surprising inspirations: Blade Runner, Before Sunrise, and Catch Me If You Can.

But just because he’s pulling from cinema doesn’t mean Waldron thinks of Loki as a six-hour movie. “I’d say it’s something totally new! It’s MCU. It was important that every episode stood alone. The Leftovers or Watchmen, which I admired so much—every one of those episodes felt like a distinct short story. That’s the sign of a great episode of TV. ‘Oh, it’s that episode of Loki.’” (If you’re wondering how delightfully weird Loki might get, Waldron mentions the lion sex cult boat episode of The Leftovers, “It’s A Matt, Matt, Matt, Matt World,” as a personal favorite.)

Close watchers of Loki trailers have already singled out what they think is a Mad Men reference in an homage to unsolved mystery man D.B. Cooper. Waldron says the connections to Mad Men, his favorite show of all time, run deeper. “Mad Men is about characters becoming aware of who they are,” he says. “Don Draper gained an awareness of how he was broken and why.”

Here, Waldron says, is where time-travel stories really come in handy: “You can literally hold up a mirror to your characters. Perhaps they can encounter other versions of themselves at different points in their lives. In the case of Back to the Future’s Marty McFly, he can encounter versions of his parents and then he understands himself better.”

Fans of the Loki comics know things can get even wilder than Lorraine and George McFly. On the page, Loki has shown up as a little kid and as a seductive figure known as Lady Loki—could these be versions of himself that Loki meets on his journey? Could meeting yourself be literalized in this way? “It certainly could,” Waldron says. “What being is more chaotic than Loki? What do you have to learn from any version of yourself?” If this is the case, Marvel is keeping that aspect of the show a secret, but fans have noticed that a few Loki actors, including the decidedly Hiddleston-esque Richard E. Grant, have yet to be assigned roles. Could Grant be playing an elder Loki?

It’s the juvenile iteration of Loki that caught Waldron’s attention. The Kid Loki comic Journey Into Mystery #622-636 by Kieron Gillen was inspirational “not necessarily because our show is about a child version of Loki, but because it excavates his humanity in a more vulnerable space in a way that you only can with a child. A child version of Loki is still burdened by the sins of his past self, which is very much what our version of Loki is running up against in the TVA. Can a tiger change its stripes?”

As for Lady Loki, remember the toxic-romance Black List screenplay that first got Waldron in the door at Marvel. Loki’s cinematic journey has been so tied up in his relationship with his brother, Thor, that he’s never had an onscreen love interest. Waldron, who still aspires to be Nora Ephron, says there certainly are some love stories running through his season.

One love story to keep an eye out for is brewing between Hiddleston’s god of mischief and Owen Wilson’s TVA bureaucrat Mr. Mobius. The two spark and spar, building on the duo’s chemistry from Midnight in Paris. “Mobius and Loki, that’s one of the love stories you might see in Loki for sure,” he says. “Although if you print that, knowing our fans, they’re going to take it the wrong way.” When I clarified that their love story might be more akin to the platonic one between Tom Hanks’s FBI agent Carl Hanratty and Leonardo DiCaprio’s con man Frank Abagnale Jr. in Catch Me If You Can, Waldron says, “Exactly. Right.”

As fruitful as the time-travel genre can be when it comes to juicy emotional development, Waldron knows it can also be a logistical nightmare if not plotted carefully. “I can show you what was all over our writers room,” he says, quickly sketching out a branching timeline. “We had to create an insane institutional knowledge of how time travel would work within the TVA so the audience never has to think about it again. It was a lot of drawings of squiggly timelines.”

Marvel already made its case for how time travel works in Avengers: Endgame, but that, Waldron points out, “is the way the Avengers understand it.” With a TV show it’s a little different. “I was always very acutely aware of the fact that there’s a week between each of our episodes and these fans are going to do exactly what I would do, which is pick this apart. We wanted to create a time-travel logic that was so airtight it could sustain over six hours. There’s some time-travel sci-fi concepts here that I’m eager for my Rick and Morty colleagues to see.”

Part of the fun on a Marvel project like this, Waldron says, is creating a disaster and just saying, “‘Yeah, we’ll leave that for the next writer.’ But then you do that on Loki and you find yourself writing Doctor Strange and you have to clean up your own mess.”

Like WandaVision and Falcon and the Winter Soldier before it, Loki has two main creatives working alongside the team of Marvel producers and executives. In the world of Marvel on Disney+, a head writer like Waldron will get the ball rolling and then a director, in this case Kate Herron (Sex Education), will join in shaping the project going forward.

“Kate’s a great creator,” Waldron says. “Suddenly we had the benefit of fresh eyes on this whole thing as we hurtled into production. It’s been run more like a feature in that it’s ultimately more director driven. I’m not the showrunner in the sense that I’m not the one with the budget hanging over my head.”

Waldron wasn’t even on set while Loki was shooting because in February of last year, just before he was to leave for Atlanta, Kevin Feige called and let Waldron know “they were going in a different direction on Doctor Strange.” Original Strange director Scott Derrickson left the project over “creative differences,” and Feige, likely eager to hit the target production date of May, made an offer to Waldron.

“I knew I wanted to stay in the family,” Waldron says. “I felt like Loki was in a great place and I was eager for what the next challenge would be.” Director Sam Raimi, a longtime hero of Waldron’s and someone Feige knows from his early days as a producer on Raimi’s Spider-Man films, was brought on board a week later to direct.

Time was tight. “How do we just make a movie in two months?” Waldron recalls thinking. “But COVID quickly descended upon us. We’re not shooting now until November. So I got to spend my 2020 on Zooms with Sam Raimi. Not too bad.” While acknowledging the foundation Derrickson laid for him, Waldron says he and Raimi started “from scratch.”

Waldron began juggling his Strange duties while still keeping one “hand on the wheel of Loki.” (Oh, and somewhere in there he also scooped up an Emmy for Rick and Morty over Zoom.) He put his trust in Herron and fellow Rick and Morty alum, writer Eric Martin, to handle the day-to-day of Loki while Martin and Waldron would collaborate on any rewrites needed to make the series come together.

Waldron found a real-life touchstone for Loki in Apple mogul Steve Jobs. They’re both adopted, he points out, and they love control. For Benedict Cumberbatch’s Dr. Stephen Strange, Waldron says, “I gravitated toward [travel documentarian and chef] Anthony Bourdain. Strange is an elitist as a neurosurgeon and a sorcerer. Anthony Bourdain was a man of the people, but there was that intense intellect. You always felt like he could eviscerate anybody with his words at any time. But yet, Anthony Bourdain never really punched down. That was the first ingredient in the stew for Doctor Strange.”

Waldron also connects Bourdain’s world traveling to Strange’s own reality-hopping adventure: “Anthony Bourdain had been everywhere, seen everything. What surprises you at this point? I think for all of the heroes in the MCU, in a post-Endgame world, how do you rally yourself to fight the stand-alone movie villains after you fought Thanos?”

Strange’s fighting spirit led Waldron to his next inspiration. “He’s Indiana Jones in a cloak to me,” he says. “He’s a hero who can take a punch. That’s what made those Harrison Ford heroes so great. Those guys get their asses kicked. Look at Stephen Strange in the first movie. He’s really getting beat up but he’s very capable and everything. I can tell you that it’s a ride…very Sam Raimi. The film is incredibly visually thrilling. John Mathieson, our D.P., who shot Gladiator and Logan—I think the look of it is going to be unlike anything you’ve seen in the MCU before.” 

“He just wanted to write a really great Indiana Jones–esque blockbuster,” Waldron’s close friend, fellow Rick and Morty alum and Ant-Man 3 writer Jeff Loveness, says. “He nailed it. It’s a kind of throwback.” Waldron, he adds, may have an even more personal connection to Strange: “His wife is a [physician assistant]. He really got to the heart of the character, how doctors do have to be cocky. He got the Hawkeye Pierce energy of Strange.” 

Waldron says whatever plans he had for Strange weren’t greatly impacted by the fact that the character was meant to show up (and then didn’t) in WandaVision. But Waldron’s close friendship with WandaVision head writer Jac Schaeffer, forged in the halls of Marvel as he was working on Loki, loomed large over the production. “I admired her so much,” he says. Schaeffer, who recently signed an overall deal with Marvel Studios, created a show around Elizabeth Olsen’s Wanda Maximoff, which will lead directly into Waldron’s first feature film. “When I got brought on to Doctor Strange—especially because Wanda is part of that story—I just wanted to make sure I wasn’t gonna let my friend down,” he says. “I can’t shit the bed because she did such a great job. So we had a lot of conversations. Getting to continue Wanda’s story was amazing.”

Waldron found himself in frequent communication with Schaeffer and Loveness, creating a kind of friend-based network of writers you don’t often see across several MCU projects. “He was still in the middle of his highly strenuous shoot and running another show and working on another secret movie, and he came onto our Zoom and collaborated on some story stuff,” Loveness recalls. “It’s like swimming in the ocean over there. There’s always going to be 10 movies that yours ties into. They’re going to change Doctor Strange so that it will affect Ant-Man and that’ll affect season eight of The Mandalorian.”

Waldron notes that one of his Loki writers, Bisha Ali, went on to create Ms. Marvel and that the whole interconnected enterprise hangs together better if they can think of it as a family: “Jeff’s dealing with the Quantum Realm and I was dealing with time travel and the multiverse. Our conversations are probably illegal to have, digitally. We have to meet on a bridge somewhere.”

“I was like eight weeks into writing Loki and I finally moved on,” Waldron recalls. “I’d spent a year driving past the old Heels writers room and feeling like a failure. Now I’d risen like a phoenix from the ashes, and then, of course, the jilted lover calls and says, ‘Hey, what are you up to?’”

In 2019, Starz came calling to see if Waldron would be interested in reviving his old wrestling show Heels. Arrow star Stephen Amell, having wrapped up his superhero duties on the CW, was available. Waldron, of course, was a bit busy.

“I had to surrender control over the thing that I had been the most maniacally obsessive over,” Waldron says of giving the reins to actor turned showrunner Mike O’Malley. “Mike, to his great credit, was just so generous and patient with me as I did that. There’s still so much of it that’s mine.” Waldron spent some of his 2021 working on post-production for the show, which will debut this August.

By then, Waldron may be even busier tackling another cinematic galaxy. He can’t say much about getting the call to work on Feige’s Star Wars, but he can say, “You’ve heard all my references here. Star Wars! Indiana Jones! [Kathleen Kennedy], she’s made so many of my favorite movies. So to get to collaborate with both of those entities is a dream come true.” Waldron’s Lucasfilm gig came with a lucrative overall deal at Disney. 

Setting sail on a steady ship like Marvel is one thing, but diving into a fractured fandom like Star Wars is a much bigger challenge. Then again, Waldron survived the Rick and Morty Szechuan sauce wars of 2017, so anything is possible. “I think he can be the guy to really kick-start the cinematic grandeur of those movies,” Loveness says. “That’s probably laying it on a little thick, but I really think he’s the guy to do it.”

“Star Wars is definitely sticky because if you make a certain brand of nerd happy, you’re actually middle fingering an adjacent breed of nerd,” Harmon says. “If you take it too seriously, you’re doing it wrong. If you don’t take it seriously enough, you’re definitely doing it wrong. It needs that total joy of the greatest franchise ever, along with a kind of swagger. I do think that Waldron would make a good match for that, but I don’t know if he would make a good match for the machine that’s carrying that stuff.”

Then again, this is Feige’s Star Wars and it’s not at all difficult to see why these two have forged a successful partnership. Feige and Waldron are both nice guys from the East Coast with wives in the medical field who like action blockbusters from the ’80s, have a connection to Nora Ephron, and weren’t brought up on comic books. But the parallels run even deeper. Feige and Waldron see stories in a similar way: constantly pushing beloved comic book characters through the lens of favorite blockbusters like Back to the Future. More crucially, both seem to have mastered the art of being political and ambitious without ever seeming disingenuous.

“I remember when he said [he was going to] Marvel and I was like, ‘Oh, god. That’s perfect. He’s going to be such a team player,’” Harmon says. “Orson Welles is not going to work well at Marvel. The Russo brothers, they were collaborators always, first and foremost. That also didn’t surprise me. There’s a tremendous mandate at Marvel about ‘all for one’ and respecting the franchise. Their leader, Kevin Feige, leads by example. If your ego is simultaneously powerful but flexible enough to fit through that pipe, you are rewarded and you have a home there forever. It’s the most obvious place in the world for Waldron. He is an Avenger.”

Growing up in Atlanta and watching his hero Hulk Hogan captivate a crowd, Michael Waldron might not have even known what an Avenger was. But possibly the two worlds aren’t all that different. “In the Heels pilot, somebody compares wrestlers to superheroes because there’s the aspirational quality of putting ourselves in their shoes,” Waldron says. “But superheroes aren’t just gods, even the ones that are gods. They’re human. They’re broken just like us. So whether it’s a towering, hulking wrestler in the middle of the ring or a pompous demigod shooting green balls of energy out of his hands, there’s a vulnerability in there. I think that’s just a really thrilling thing to get to explore.”

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