When Mount Vesuvius erupted in 79 CE, it spewed molten rock, pumice, and hot ash over the cities of Pompeii and Herculaneum, killing thousands of people. It’s one of the most famous natural disasters in human history, so naturally there have been countless documentaries about Pompeii (and at least one popular song). But only one features actor Tom Hiddleston taking on the role of a “time detective” to bring the people of Pompeii to vivid life. That would be National Geographic’s new three-part docuseries, Pompeii: Out of Time.

The Marvel connection made Out of Time happen. Executive producer Kevin Wright was also a producer on the Disney+ series Loki, which included a scene where Hiddleston’s Loki travels through time to visit Pompeii. Hiddleston also studied classics at Cambridge University and had visited the Pompeii archaeological site as a teenager, which the Marvel star attributes to indirectly influencing his career path into acting.

“There is just a passion to the way Tom tells stories that’s infectious,” Wright told Ars. “We knew that if we could capture that and put it into [the series], it might interest people who wouldn’t normally want to watch a documentary about Pompeii. “

The docuseries combines the usual historical and scientific facts with Hiddleston’s personal journey of discovery. He homes in on three people in particular and follows them over the city’s final 24 hours to discover whether or not they survived: a teenage boy, a local businesswoman, and a Praetorian guard. Stilted re-enactments are replaced with scripted dramatic scenes and high production values to make it all feel more cinematic. It’s an unusual approach, if only because we’re so conditioned to what a documentary “should” be. But the blended approach makes for a powerful experience.

“We felt we could use the imagination to make a more human story. This isn’t just ancient history; these were real people, and their lives were not dramatically different than ours even though they lived 2,000 years ago,” said Wright. “One of the most freeing moments was when we came to this idea of ‘historia,’ the merging of imagination and historical fact, and that ‘storytelling’ and ‘history’ in Latin are the same word. It was Hiddleston who put us onto that. When we went to our historians, our experts, with that word, we were met with nothing but enthusiasm. There seems to be a real movement in archaeology of, ‘This is how you have to approach it now.’”