Scarlet Witch and Vision

Warning: This review contains mild spoilers for ‘Scarlet Witch and Vision’ Season 1.

The general consensus after its first season is that ‘Wandavision’ has not been as different from the rest of the MCU as its initial promises. Even so, it makes some interesting thematic proposals and looks ahead to Marvel fiction’s future, creating an intriguing network of film-television connections.

Any experienced viewer knew the first episodes’ disconcerting sitcom homage world would be short-lived. Starting with the homages’ rapid evolution from decade to decade in each episode, the clues were clear. Additionally, each episode features “real” world intrusions. It was obvious that this was a circumstantial tribute with an explanation.

That explanation had a more sympathetic side (Agatha Harkness’s appearance, obvious if you read the clues, such as her rabbit being called Mr. Scratchy), full of humour, and could give Wanda a background of genuine “witchcraft” since we don’t call her a mutant. The eighth episode, the worst, reveals why there are so many sitcoms through a flashback. Clearly, an explanation based on the brilliant idea of honouring classic and modern TV shows.

Marvel fans can relax from the middle of the season onwards as government agencies for superhero control, hangars, corridors, conspiracies, and charismatic supporting characters arrive. From there, and despite quirky moments (the opening credits starring Agatha Harkness are delicious), ‘Scarlet Witch and Vision’ fits perfectly with the MCU, not superhero comics’ delirium, colour, humour, and shamelessness.

That annoying carnivalesque moment of “ridiculous costumes coincidentally identical to those you know from the comics.” also frustrates some expectations from the original on paper. One of the most frustrating hopes is that Mephisto or a villain greater than Harkness is hidden from us, making this series a “minor event.” Or that Mercury’s casting could be a meta reference for not being one. Or wasting a great character like the second Vision, who gets two whippings and nothing else.

‘Wandavision’ has typical Marvel qualities: good effects, friendly humour, winks, a great cast, and attractive characters. As good as ‘Ant-Man‘ promised a superhero heist movie or ‘Doctor Strange’ promised MCU mysticism. As in ‘Wandavision’, they maintain some of Marvel’s initial promises of a distinct tone, but they eventually become other Marvel products. ‘Wandavision’ does that, but Marvel fans won’t mind.

‘Wandavision’ opens what paths?
Beyond the predictable plot lines in a couple of post-credits sequences (one involving the character from the series who is guaranteed continuity in the MCU, the other involving a second season or Wanda’s adventures in other series or films), ‘Wandavision’s most intriguing aspect is its potential impact on the MCU. It’s clear that the series contains much of it.

Paradoxically, the final episode’s best line references the MCU (when Monica Rambeau is told she’s expected at the movies), but ‘Wandavision’ proves that serial narrative works with superheroics. Paper, heir to the pulp masked men since the 1940s, has known the power of a good cliffhanger for decades, but Disney is clearer than ever in audiovisual terms (although its ten years of intersecting films also pointed in that direction). Disney is unlikely to abandon this new weekly series format. Who knows if binge-watching will become obsolete.

The vintage feel of ‘The Mandalorian’s’ narrative suited ‘Wandavision’s’ classic serial structure. Only in this way have three initial episodes been proposed that maintain the mystery of this season, sparking internet theories and conjectures. No audience figures are available, but the perception that it is being talked about will likely lead to subscriptions and impressive isolated data (‘Agatha All Along’, the villain’s theme song, was number 1 on iTunes).

Disney+’s main concern right now is maintaining momentum and almost linking products. In 15 days, ‘Falcon and the Winter Soldier’ will premiere, promising a more ‘Avengers’ tone with less eccentricity and more classic UMC. Disney is prioritising testing different tones, rehearsing character possibilities, and cementing the narrative arcs of the next MCU phases, issues we have never seen before. For this reason, asking the MCU series for more risk may be naive.

Scarlet Witch and Vision

By ki0nk

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