The final chapter has closed on the Marvel Cinematic Universe’s first Disney+ series and now, as I catch up on the skeletons of reviews too long neglected, this one comes to publication just as the SECOND Marvel series ('Falcon and the Winter Soldier') begins to air. So I continue to be fashionably late. But here’s to hoping I’m caught up by the time I can actually get back in theaters to see new releases.
The principal concept of WandaVision immediately sets it apart as one of the freshest and most innovative installments in the 13 year history of the MCU. Former Avengers Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) are somehow living out slapstick domestic bliss within the rapidly evolving world of television sitcoms. It is a delightfully quirky premise that is fully committed to, immersing you into this mysterious world until the inevitable moment where you are violently yanked out and the pieces start to fall into place.
After over a decade of highly entertaining but largely cookie-cutter superhero features, it is supremely refreshing to see Marvel take a risk on such a big artistic divergence from their typical fare. It also serves as a showcase for the considerable talents of Olsen and Bettany, who previously were largely overshadowed in the Avengers franchise. They convincingly match each progressive decade of sitcom tropes and transition from comedy to self-aware drama in a way that is both smooth yet chillingly jarring.
In order to really unpack the show, it’s impossible to avoid spoilers. So, if you haven’t watched it, watch it. That’s my recommendation. But if you have, proceed ahead, where SPOILERS ABOUND:
Once the veil is lifted, we get our concurrent storyline on the outside of Wanda’s sitcom bubble – Conveniently named SHIELD-replacement SWORD wants in, and to guide us through this phase of the drama we’ve roped in big screen supporting cast members Jimmy Woo (Raymond Park) and Darcy Lewis (Kat Dennings), as well as newcomer Teyonah Parris as Monica Rambeau, first seen as a child in ‘Captain Marvel.’
The scenes outside of the bubble are much more standard Marvel fare, and ultimately seem like a drag compared to the zany, unpredictable world they’re observing. But Park and Dennings’ great comedic chemistry does heavy lifting to keep us awake (Let’s get that spin-off in the works, Mr. Fiege). And Parris as Monica makes a *sparkling* debut, crashing onto the scene as the universe’s newest hero.
But all the real buzz is “in front of a live studio audience,” and the sitcom episodes are where WandaVision shines brightest. The mystery, the afore-mentioned acting showcase, A+ switch-flips from Bettany and Olsen and, of course, “Agnes” (Kathryn Hahn). Hahn perfectly channels her professional chaotic energy here into an enigmatic interloper turned villainous witch, solidifying herself as one of the MCU’s most memorable villains. (With her own catchy theme song to boot.)
We also get, all too briefly, treated to the talents of Evan Peters as “Recast Pietro.” And this is where we get to the problems.
In the end, the zany, offbeat world of ‘WandaVision’ reverts to classic superhero CGI beat-em-up fare for the final episode. And while the Vision v. Vision “Ship of Theseus” scene was one of the highlights of the show and the bittersweet final moments were perfectly captured, overall the whole thing felt off. It was a disappointingly pedestrian ending to such an exciting show.
Interviews after the fact reveal that many of the clunky holes in the finale came from cuts that were made due to the interference of the COVID-19 pandemic. But ultimately, those were not the most vocal criticisms leveled at the series in the aftermath of the final credits. Instead, many fans were left frustrated and disappointed by teases and theories that ultimately amounted to nothing.
Months before the first episode premiered, cast and crew were going to the press, hyping up how “shocking” and “ground-breaking” the show would be. (And of course, there was Bettany’s trollish talk of a “secret cast member” that turned out to just be himself.) And I generally make a point to advise that expectations should not color objective assessment of a medium. For example, Game of Thrones Season 8 was an unmitigated disaster, but that’s not because Daenerys and Jon didn’t end up ruling together. (It’s been two long years. Never forget.)
But since media relations is what I do, I can’t avoid examining how the promotion of the show caused a bit of a backfire when all was said and done. If there’s one thing that franchise marketing teams desperately need to grasp, it’s that 9 times out of 10, the fan theories will always be far more ground-breaking, shocking and revelatory than your actual plan. As such, telling them they’re going to be surprised is playing with fire.
Let’s look at the three big reveals that DID happen:
--- Agnes being Agatha Harkness had been speculated from the beginning of production and there was something clearly off about her character. It was expertly executed and Hahn played the part brilliantly, but it was no different from a dozen tried and true “villain reveals.”
--- “White Vision” was the one secret most successfully kept under wraps, but also the most inconsequential. He ultimately existed just for the sake of giving Vision someone to fight in the finale, delivered one memorable scene and then literally yeeted himself out of the story.
--- Evan Peters as Pietro was the most shocking for those lucky enough to avoid the leak curtesy of a swiftly-fired dub actor. And he certainly fueled the most speculation and was the crux for the most potentially earth-shattering fan theories. In the end, however, he was nothing more than an Easter Egg, a wink to the audience to stir up hype before getting written out as an unfortunate waste of Peters’ considerable talents that could have been spent better in a role with real meaning.
All of this amounted to disappointed fans and undeserved backlash towards an already lackluster finale. But it was well worth the ride for the sitcom aesthetic, the excellent acting and the debut of Monica Rambeau, who I am impatiently counting down the days until we see again.
In the end, I hope that Marvel walks away from ‘WandaVision’ feeling confident in their ability to take risks and break free from their formula, but also learning some valuable lessons about not overselling their own shows. Because as Wanda herself learned, it’s all too easy for the smallest wishes to spiral wildly out of hand.
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