Marvel – The4thDave Blog

Hello again, friends! I’m back to give my quick retrospective thoughts on WandaVision. Yes, it’s been a few weeks since the finale (what can I say, new baby and all that), but I still wanted to revisit the show and its themes because they were so rich with ideas for discussion.

So, don’t touch that dial–let’s get into it!

Very Special Episodes

First off, I have nothing but HUGE praise for the director and the writing and production teams on maintaining the television tropes and framing throughout the series. It was an absolute delight to recognize subtle references in both the opening credits sequences and the way the “on-air” segments were shot. I especially enjoyed that Malcolm in the Middle got a some love as the framing style for the Halloween episode. That show doesn’t get nearly enough credit!

The other references were stellar, from the theme song changes reflecting the 80’s (Family Ties, Growing Pains, Full House) and the 2000’s (The Office, Modern Family) to the use of the commercials as glimpses into Wanda’s damaged subconscious (the Yo!Magic yogurt commercial still creeps me out). Even the titles of the episodes were a wink to classic sitcom tropes and traditions. The care and love that the showrunners have for past shows took this concept from a quirky oddity to a really heartwarming retrospective of television history, decked out in a superhero costume.

While not perfect, this series wildly exceeded my expectations in terms of production and style. It bodes well for the other Marvel Cinematic Universe (MCU) shows coming to Disney+, and how seriously Marvel Studios is taking its TV storytelling.

Recasting Pietro

With all that lavished praise in place, let’s go ahead and talk about my biggest disappointment in the series: the Pietro Fake-out.

As you may recall, Episode 5 ended with a HUGE reveal: an unexpected knock at the door revealed “Pietro” back from the dead–but it was the Fox X-Men Unverse’s Pietro, not the MCU version. The internet fandom collectively lost its mind (me included), because this seemed to imply that upcoming “multiverse” storylines were being introduced by crossing over another version of Quicksilver into the Marvel 199999 (MCU) “universe.”

If you don’t know why this is such a big deal, permit me a brief discursis.

The biggest challenge in creating the MCU had nothing to do with storytelling or characters and everything to do with lawyers. Over the decades, various corporations had acquired the rights to Marvel superheroes — Fox owned the film rights to the X-Men and Fantastic Four, Sony owned Spiderman, and so on. So while all of these characters lived together in the same world (more or less) in the comics, and interacted with each other, the ‘twain could never meet in the movies–or so we thought.

In 2015’s Avengers: Age of Ultron, the MCU introduced the Maximoff siblings Wanda and Pietro as supers who were created by Hydra’s nefarious tinkering; however, in the comics, they were actually mutants, the children of Magneto from the X-Men stories. Since the idea of “mutants” was legally off-limits to the MCU, we all assumed that these would just be alternate versions of the characters (since they existed in both movie franchises with different actors/backstories) and that was that. Then Disney decided it would become the One Studio to Rule Them All and not only acquired Fox and its properties but negotiated to bring in Spiderman into the MCU, beginning in Captain America: Civil War.

Once Disney bought out Fox, the questions began circulating: When would we see some version of the X-Men in the MCU? Who would be the first “outside” character to cross over? The Fantastic Four? Wolverine? And surely this won’t happen until years into the future, right? Phase 5 or 6 of the MCU story?

So when Evan Peters, the Fox X-Men film version of Quicksilver, was revealed standing in the doorway asking for a hug from his “sister,” I was one of thousands who did this:

I literally paused the show for about 2 minutes and excitedly explained the above to my bemused wife. I just couldn’t believe it. They were really going to do it! The multiverse was happening NOW!!!

Except it wasn’t.

The showrunners later said that this was meant as a cheeky meta-reference and nothing more. I’m still not sure I buy that. If they could have pulled off this kind of major crossover, I think they would have, so I’m wondering if they got word from the executives that this kind of storyline move was coming too soon, and they had to quickly change course on “Fietro.” In the end, the character was just another townsperson (with a dumb joke name). What a let-down.

This was probably my biggest (maybe only?) beef with WandaVision. In a show full of bold strokes and daring narrative choices, this would have been the biggest bombshell move, steering the course of the TV shows and films for years. Maybe that was too much to ask. I was just so delighted with being legitimately surprised for once.

Aside from that issue, what else do I have to say about the show?

“It was Agony All Along…”

In the end, I was…surprisingly close, if not dead-on correct, with most of my predictions. How about that!

Wanda did it. While Agatha Harkness / Agnes was manipulating some elements of the Hex (and seriously, how fun was that character!), it was truly Wanda controlling the town, even if she didn’t realize fully how she was doing it.
Vision wasn’t *really* there. That is to say, his physical body from the end of Avengers: Endgame was still at SWORD’s lab until the end of Episode 8. The version of Vision in the “show” was created by Wanda and bound to the Hex.
Wanda had “friends” on the outside, trying to break in. Although Wanda didn’t know any of the people trying to break in, at least some of them were friendlies, including Monica, Darcy, and Jimmy. (All three brought such great energy and fun to the proceedings. What perfect choices for secondary characters to get a chance to shine when not bound to their usual superhero storylines!)
There wasn’t a “bad guy” in the typical sense. The SWORD director was definitely villainous (I mean, you don’t shoot at kids, not matter how you want to justify it), and Agatha was the main opponent in the climactic battle, but in terms of overarching villains for the show, the only real nemesis was Wanda’s all-consuming grief. That grief created the pastel prison that enwrapped Wanda and the other townspeople. Her memories filled the nightmares of her prisoners. Her pain drove her to do unheroic things. It was Wanda all along.
My only “miss” was on the mutant question. And I even guessed this (based on the speculation of others) before Evan Peters showed up, so I should get at least half-credit for anticipating the massive fan speculation. (No? Okay, fine, mark it as a miss.)

It could be argued that a lot of these elements were predictable. (For example, the fanbase identified Agnes as Agatha Harkness from almost the word “go.”) But rather than making it boring, the fact that so many of the references and Easter eggs were guessed by the fan community made it a game of figuring out how the story would eventually play out.

That said, I guess it’s not *that* impressive that my guesses were right–but I’m still claiming the W, y’all.

Saying Goodbye, and Hello

What made this show work in the end?

WandaVision wasn’t ultimately about superheroes and androids and witches and action sequences, though that’s what may have sold people on it at the outset. At its heart, the show was a meditation on love and grief. The strongest and most memorable moments were the quiet conversations, the honest arguments, and the tender exchanges between the titular characters.

The final two episodes were an emotional rollercoaster, as we are taken deep into Wanda’s past to relive with her the traumas that brought her to this point. Even the major (and presumably expensive) special effects sequences pale in comparison to the final moments of Wanda and Vision embracing as their “world” collapses around them. Wanda has to say goodbye to the children she has grown to love and the husband she could never truly have. She is forced to accept that some people never get “happily ever after.” And she does accept it…at least for now.

While there are some hints that Wanda may now be looking for a way to cheat death and pull her family from another plane of existence (possibly setting up an even darker storyline for her in the future), that doesn’t take away from the emotional punch of the resolution of WandaVision.

It’s easy to write off superhero movies as little more than apocalyptic sky-beams, mindless explosions, and popcorn entertainment. Many times, that’s really all they are and need to be. But when these elements are employed to create a story that dives into the deep waters of human experience in an honest and challenging way, the genre becomes something special.

WandaVision is that kind of special entry in the MCU, and I really hope that the folks at Marvel Studios take note and keep aiming for this level of storytelling in the future.

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What did you think of WandaVision? Share your raves and/or critiques in the comments!

Nick (Fury) at Nite

What struck me from the outset was the outstanding visual direction, set and costume design, and use of sound cues. The production team has recreated the vibe of a classic TV sitcom with each episode, and the care and intentionality of the direction and design is apparent. The first episode all but perfectly recreates the living room from The Dick Van Dyke Show (including a cheeky “ottoman side-step” reference!), while the next 2 episodes change the house to reflect the design sensibility of Bewitched and The Brady Bunch. The use of the canned laugh-track, the writing, and the storylines seem to be ripped directly out of Sheldon Leonard’s old notebooks, and the show looks like it was shot on the DesiLu back-lot. Even the opening credits are created to evoke those era-specific TV shows, often directly referencing the animation or font design of the titles.

What’s more: the “classic” comedy plots and writing work for me. I’ve read critiques calling the storylines hokey or corny, but as someone who grew up on countless hours of sitcom reruns from that era, it hits the spot for me and makes me genuinely laugh throughout–to the point that I become a little self-conscious about it, while watching the show with my wife. The fact is, I absolutely love that era of television. It’s visual comfort food. And the showrunners get it.

Rather than try to mock or parody the genre, the WandaVision team has created a kind of love-letter to that time period in TV history, and the show feels like it would fit right in with the classic Nick-At-Nite lineup of my youth… at least until someone starts choking or cuts their hand, at which point the illusion begins to shatter.

It’s Creepy and It’s Kooky

What makes the show work as part of the MCU is what has (up to this point) been lingering at the edges: certain moments when the audience can see (and the characters themselves begin to acknowledge) that none of this is real. This creates a palpable dread that hovers just off-screen for most of each episode.

The ways this is done are varied and creative: Wanda’s ability to rewind or edit conversations; errant radio broadcasts that break through the musical background; splashes of color during the first 2 “black-and-white” episodes, a la Pleasantville. Even the commercials in the middle of each episode are full of Easter eggs and clues about this ongoing mystery. Then, in Episode 3, the facade falls away, as Vision’s neighbors seem to allude to their being held prisoner in this idyllic town, and Wanda’s friend Geraldine outright mentions Ultron when Wanda begins talking about the death of her brother.

So what’s going on? Here are my current theories, based partly on some things I’ve read about the visual references in the first 3 episodes (and I’m posting this today because I have a feeling the plot’s going to get blown wide open with Episode 4):

I’m fairly sure Wanda’s in control. The times that Wanda uses her powers to “clip” conversations or rewind time tell me that she’s the one in charge (at least, in charge of what’s happening inside Westview–though someone or something else might be controlling her?). The town of Westview is a simulation, a pocket universe, or some sort of reality-stone-style construct. She’s incorporated the classic TV she may have seen as a child in Eastern Europe and used it to create an idyllic “happy ending” for herself and Vision that she feels they deserve and were denied.

I’m not sure Vision is *really* there. At least, not the Vision that Wanda knew and loved in Infinity War. The Vision we see here is either a construct of Wanda’s fantasy, or perhaps an earlier “save file” of him that she was able to get hold of. Either way, he’s as much a prisoner as anyone else in this town.

Wanda’s friends are trying to break in. Geraldine is clearly an agent of SHIELD or is working on their behalf, but when she oversteps and pushes on Wanda too hard, she’s expelled from the fantasy world. It’s clear at the end of Episode 3 that SHIELD (or at least SWORD, which I learned is an office within SHIELD) is trying to protect (Contain? Control?) Wanda, perhaps because she’s more powerful than they can handle at this point.

There isn’t a “bad guy”–or at least, if there is, it’s Wanda. My guess is that once she realizes the illusion will not hold, she may become angry and/or vengeful and may lash out at those trying to bring her back to the real world, unless or until “Vision” talks her down and convinces her that it’s time to let go and move on. This ending will be heartbreaking, but ultimately satisfying.

This opens the door to “mutant” involvement in Phase IV. The background question in all this is how these Disney+ series’ interact with MCU Phase IV. I’m wondering if this show will be used as a way to lay the groundwork for introducing the X-Men into the MCU, since the character of Wanda now firmly has a foot planted in both “worlds.” (Note: I didn’t come up with this idea; one of the “easter egg” posts I read online connected the Episode 3 commercial language about the “goddess within” to the possibility of retconning Wanda’s powers so that they were innate to her as a mutant, rather than created by Strucker and Hydra.)

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So there you go: early reaction and theories about WandaVision, in advance of Episode 4’s release. I’m absolutely digging this show, and I can’t wait to see how it ends. If you want me to follow-up with some final thoughts once the series concludes, let me know in the comments and I’ll be happy to oblige you. (I may do it anyway.)

Tag: Marvel

Grief, Perservering: Final Thoughts on “WandaVision”