by Josh Sewell
Those who complained that the Marvel Cinematic Universe’s narrative was impenetrable by the time things wrapped up with 2019’s Avengers: Endgame are in for even more headaches now that the studio’s entertainment behemoth has grown to include several new limited-event series on Disney Plus. Now, not only do casual viewers have 20+ movies to watch if they want to catch up, they also have to juggle a ton of secondary characters getting their time in the spotlight with ambitious shows that will eventually tie into future movies.
That probably sounds like a bigger headache than it’s worth to many. However, for nerds like me who’ve been onboard with producer Kevin Feige’s momentous vision since the beginning (2008’s Iron Man), every new step of the journey has been a blast. (Well, almost every step. We won’t talk about 2013’s ill-advised Thor: The Dark World.)
Still, my favorite installments of Marvel Studios’ ongoing saga have been those that veer into bizarre territory. That includes James Gunn’s refreshing take on the superhero origin story with 2014’s Guardians of the Galaxy and Taika Waititi’s Thor: Ragnarok, which helped save the god of thunder’s floundering franchise in 2017 by completely reinventing the character.
Marvel takes a similar route with WandaVision, its first Disney Plus series. (It debuted last week and I’ve seen the first three episodes out of nine.) As the clever title indicates, focus shifts to a smaller screen while also putting the spotlight on two compelling characters who didn’t get much to do in previous films.
When viewers last saw android Vision (Paul Bettany), he died – twice! – trying to prevent supervillain Thanos from wiping out half the universe’s population. Wanda Maximoff (aka the Scarlet Witch, played by Elizabeth Olsen) went on to help the rest of the Avengers finally defeat Thanos and faced an unknown future. That’s why it’s so jarring when the opening sequence of WandaVision shows the happy couple, who still have their superpowers, moving into an idyllic suburb to begin a life of blissful domesticity.
Oh, and did I mention it plays out like a 1950s sitcom, complete with black and white cameras; bouncy theme song; clichéd jokes about marriage and the workplace; a soundstage; and a live studio audience? There’s a real sense of disorientation, which is absolutely intentional – right when this Pleasantville-esque world starts to feel sinister, comes a reveal that nothing is what it seems. As with mystery-heavy shows like Lost, Twin Peaks and The Good Place, the first few episodes set up far more questions than they answer.
I’m assuming this format will leave a lot of viewers scratching their heads – “now I have to be an expert on Marvel movies *and* classic sitcoms?!” – but I was hooked from the start. Partly due to the sheer weirdness of this audacious endeavor, sure, but also because it allows viewers who only know Bettany and Olsen from Marvel films to see what incredible actors they are when given the right material.
Obviously, since he’s playing an android, Bettany didn’t get many opportunities to emote on the big screen. In WandaVision, thanks to the sitcom conceit, he gets to be genuinely funny. In the second episode, which morphs from a Dick Van Dyke Show-style format to one reminiscent of Bewitched, a chewing gum mishap jams up Vision’s gears, causing him to act drunk at a neighborhood talent show. Bettany’s knack for physical comedy and his slurred, lackadaisical delivery had me actually laughing, not just appreciating how much the show nails that era’s comedic rhythms.
Similarly, Olsen’s primary responsibilities in previous films were scowling and moving her hands a lot so the visual effects team could animate her powers in postproduction. I’m happy she gets more to do here; she proves to be a terrific mimic of the vocal stylings of sitcom actresses, subtly altering her delivery in each episode to reflect the medium’s constant evolution.
By the series’ third episode, Olsen has reached The Brady Bunch era and absolutely nails it. I’m excited to see how she changes it up for the ’80s and ’90s recreations (as television fans know, that’s when her older twin sisters Mary-Kate and Ashley had their own sitcom success with Full House).
In addition, there are some terrific supporting performances from Kathryn Hahn (excellent as always, stealing scenes as Wanda and Vision’s nosy neighbor Agnes) and Teyonah Parris (playing Wanda’s enigmatic friend Geraldine). Plus, viewers will see a host of familiar faces from both the Marvel world and sitcoms of the past.
Fortunately, just as the sitcom conceit begins to feel a little gimmicky, WandaVision opens up the world to an even larger narrative. I’m excited to see where it leads. There are six episodes to go and I have no clue what’s going to happen next. That’s rare for me, so I’m enjoying the ride.
WandaVision is rated TV-PG and contains mild language and thematic elements. New episodes weekly on Disney Plus.
Grade: B+
That probably sounds like a bigger headache than it’s worth to many. However, for nerds like me who’ve been onboard with producer Kevin Feige’s momentous vision since the beginning (2008’s Iron Man), every new step of the journey has been a blast. (Well, almost every step. We won’t talk about 2013’s ill-advised Thor: The Dark World.)
Still, my favorite installments of Marvel Studios’ ongoing saga have been those that veer into bizarre territory. That includes James Gunn’s refreshing take on the superhero origin story with 2014’s Guardians of the Galaxy and Taika Waititi’s Thor: Ragnarok, which helped save the god of thunder’s floundering franchise in 2017 by completely reinventing the character.
Marvel takes a similar route with WandaVision, its first Disney Plus series. (It debuted last week and I’ve seen the first three episodes out of nine.) As the clever title indicates, focus shifts to a smaller screen while also putting the spotlight on two compelling characters who didn’t get much to do in previous films.
When viewers last saw android Vision (Paul Bettany), he died – twice! – trying to prevent supervillain Thanos from wiping out half the universe’s population. Wanda Maximoff (aka the Scarlet Witch, played by Elizabeth Olsen) went on to help the rest of the Avengers finally defeat Thanos and faced an unknown future. That’s why it’s so jarring when the opening sequence of WandaVision shows the happy couple, who still have their superpowers, moving into an idyllic suburb to begin a life of blissful domesticity.
Oh, and did I mention it plays out like a 1950s sitcom, complete with black and white cameras; bouncy theme song; clichéd jokes about marriage and the workplace; a soundstage; and a live studio audience? There’s a real sense of disorientation, which is absolutely intentional – right when this Pleasantville-esque world starts to feel sinister, comes a reveal that nothing is what it seems. As with mystery-heavy shows like Lost, Twin Peaks and The Good Place, the first few episodes set up far more questions than they answer.
I’m assuming this format will leave a lot of viewers scratching their heads – “now I have to be an expert on Marvel movies *and* classic sitcoms?!” – but I was hooked from the start. Partly due to the sheer weirdness of this audacious endeavor, sure, but also because it allows viewers who only know Bettany and Olsen from Marvel films to see what incredible actors they are when given the right material.
Obviously, since he’s playing an android, Bettany didn’t get many opportunities to emote on the big screen. In WandaVision, thanks to the sitcom conceit, he gets to be genuinely funny. In the second episode, which morphs from a Dick Van Dyke Show-style format to one reminiscent of Bewitched, a chewing gum mishap jams up Vision’s gears, causing him to act drunk at a neighborhood talent show. Bettany’s knack for physical comedy and his slurred, lackadaisical delivery had me actually laughing, not just appreciating how much the show nails that era’s comedic rhythms.
Similarly, Olsen’s primary responsibilities in previous films were scowling and moving her hands a lot so the visual effects team could animate her powers in postproduction. I’m happy she gets more to do here; she proves to be a terrific mimic of the vocal stylings of sitcom actresses, subtly altering her delivery in each episode to reflect the medium’s constant evolution.
By the series’ third episode, Olsen has reached The Brady Bunch era and absolutely nails it. I’m excited to see how she changes it up for the ’80s and ’90s recreations (as television fans know, that’s when her older twin sisters Mary-Kate and Ashley had their own sitcom success with Full House).
In addition, there are some terrific supporting performances from Kathryn Hahn (excellent as always, stealing scenes as Wanda and Vision’s nosy neighbor Agnes) and Teyonah Parris (playing Wanda’s enigmatic friend Geraldine). Plus, viewers will see a host of familiar faces from both the Marvel world and sitcoms of the past.
Fortunately, just as the sitcom conceit begins to feel a little gimmicky, WandaVision opens up the world to an even larger narrative. I’m excited to see where it leads. There are six episodes to go and I have no clue what’s going to happen next. That’s rare for me, so I’m enjoying the ride.
WandaVision is rated TV-PG and contains mild language and thematic elements. New episodes weekly on Disney Plus.
Grade: B+
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