Penning a review of the Marvel Studios television series WandaVision is an interesting task. First of all, I could not adore this Marvel saunter into the TV realm more—in fact, if all nine episodes were available to preview, I would have stayed up all night! This article will not contain any spoilers. In fact, descriptions of the goings-on of the trifecta episodic of excellence I just witnessed will be minimal for orientation purposes solely.
Elizabeth Olsen returns to the role of Wanda Maximoff, the witch who first truly got involved in things in Avengers: The Age of Ultron. Specifically, she first appeared onscreen in Captain America: The Winter Soldier in her character’s post-credits debut. She’s a twin (with Pietro Maximoff, aka Quicksilver) and has been flying solo since the titular villain in Ultron killed him.
Paul Bettany is Vision, the AI “robot” who has morphed to his current form from how we were first introduced to him in 2008 as J.A.R.V.I.S. in Iron Man—aka the movie that essentially commenced the entire Marvel Cinematic Universe. He too first appeared in the MCU as Vision in Ultron and the connection between Wanda’s witch and supernaturally gifted walking/talking computer has always been palpable. Their pairing has seemed a given since the get-go.
WandaVision is the most unique of… everything, really. It combines the background storylines of the film universe that fans could not know better with a love letter to the history of television. Each half-hour episode is all classic sitcom, commencing with episode one serving as a tribute to the first situational comedies—such as I Love Lucy. Vision and Wanda are moving into their first home together, as man and wife. Their suburban metropolis is known as Westview. The common tropes of the 50s sitcom are all there—from the nosey (but supremely friendly) neighbor Agnes (Kathryn Hahn) to the dinner party that was thrust upon a housewife (Wanda) that she couldn’t be less prepared for if she tried. Yes, hilarity does ensue, but there is something else at work here.
If everything is not as it seems, well that is on purpose. It may be cliché, but boy does that descriptor fit.
The first two episodes of WandaVision will premiere on January 15 and it probably goes without saying that one must witness both—inhale these suckers. The second episode keeps us in the 50s and introduces us to more of the neighborhood folks while the third ep moves to the late 60s or early 70s. All the while something extraordinary happens. Although dressed up as a half-hour sitcom, like so many hundreds we’ve seen before, the show also swiftly becomes a mystery. There will be a legion of questions that emerge with each show, from the obvious and traditionally basic, “What is going on?” to “Where are they physically” and a few deeper ones—such as “Who are these neighbors, really?” and if this is not “real”, then who exactly is playing the role of Geppetto?
Mark Shakman helmed the entire series. That is wonderful to see as with such a complicated premise—all living within the MCU and its couldn’t be richer history—continuity behind the camera is key and I believe, will serve this series pricelessly. Often on sitcoms, there can be a rotating crew of directors. Thankfully, that is not the case here. From what we’ve seen so far, Shakman has an incredibly firm command of the material, has inspired his entire ensemble to great heights—stretching them beyond their comfort zone to unforeseen places.
Some of the most important work any director does is selecting who will accompany the artist on this journey, from actors and actresses to cinematographers, production designers, and of course given this world—effects wizards. Shakman has done a stellar job of tapping souls who are not only on the same page as him creatively but are taking the premise of this endeavor and pushing the envelope within their own respective creative fields.
Technically, WandaVision is a marvel, small “M!”
The cinematography by Jess Hall is complex, to say the least. It is not every day that the word “complex” is utilized to describe what a Director of Photography does on a set. Given the myriad of feels that the show employs, in terms of its mesmerizing visual cornucopia, that word fits impeccably. Hall’s gift of capturing eye-popping visual magic progressively reveals itself as the series goes along. Cannot wait to see where Hall’s lens focuses on next.
WandaVision’s costume design is beyond blissful. The designer was charged with dressing characters from the 50s through (we expect) modern-day—as the events of the show, we’ve been told, take place after The Avengers’ triumphant victory over Thanos in Endgame. Mayes C. Rubeo handles the role with a powerful panache as she simultaneously recalls classic sitcoms, all while still making it feel fresh and approachable within the prism that is the MCU. Rubeo, who served this role in Avatar, and was responsible for the eye-popping and explosively colorful costumes of Thor: Ragnarok, is as much a part of the credit for giving the audience a timeline without a specific date or decade even being mentioned.
Production Designer Mark Worthington had his work cut out for him with WandaVision. Judging by these first three episodes, Worthington and his crew have hit a grand slam. From the moment the series commences, in the kitchen of the Vision residence, one almost expects Barbara Billingsley’s June Cleaver to come walking through the door. Instead, we get our beloved Comic Book-born witch as she puts away the dishes utilizing those supernatural gifts of hers.
It’s not just the inside of the Vision household, this is an entire neighborhood that is anchored in a time that is not ours. For example, in one of the first three episodes, Vision visits the town library, and it is so the embodiment of the classic mid-twentieth century vessel of knowledge that each public library represented to a community. As the action switches to the late 60s or early 70s, Worthington effortlessly (although it may seem that way, I’m sure it wasn’t) morphs his entire set into something mirroring The Brady Bunch and The Mary Tyler Moore show. Uncanny work by Worthington and his entire team.
Never one to shy away from an enormous mountain to climb, the visual effects team at Marvel had a slew of varied challenges and as they are known to do, raised the bar for the entire industry. What they are collectively charged with is integral to the plot, the mystery that is percolating and will throughout the entire series, as well as keeping within the realm of the powers of these two supernatural beings. To describe a few examples of what they achieved would firmly slip into spoiler territory, so just take my word. It’s dazzling.
Then, there’s the music. From the opening Marvel Studios intro (which has one of the most epic sonic feels to it) to the actual “theme song” for WandaVision, clever doesn’t even begin to describe what a pair of Disney darlings have achieved. Robert Lopez and his songwriting wife Kristen Anderson-Lopez (of Frozen Oscar-winning fame and Frozen 2) were tasked with crafting a fresh theme for each episode—given the time-shifting nature of the narrative. Somebody knows their classic sitcoms as the couple has outdone themselves, which is saying a lot given what the Lopezes have already achieved.
There’s also this sentiment that I cannot shake that all of the above “below-the-line” talents will flex their talent muscles ever further as the show progresses from episode four to the season finale in episode nine.
The performances are all top notch. Both Olsen and Bettany are titanic thespians who have trained tirelessly and honed their craft that has them prepared for anything. That could not be more required as they bring us a Wanda and Vision who couldn’t be further away from the landscape of the MCU, all while supposedly living in it. Olsen is a delight, yet again, and illustrates that sitcom star could have easily been in the cards for her. There’s something innate that is required of anyone appearing in a sitcom and that is timing. It’s there for dramatic endeavors as well, but the comedy and the hallmark of this entire genre lie heavily on an ensemble’s ability to be aware of the beats and when and how exactly to hit them. Then, there’s Bettany, who is right there with his partner in the sitcom timing department.
The English actor shows a side of himself that has rarely been seen. He is funny as all get-up. Not only does he possess the timing necessary for this entire effort to work, but he embraces physical comedy in such a manner that it seems as if he has been doing nothing but sitcom work since he started his career. It is that natural. Which makes what is coming all the more intriguing. His chemistry with Olsen is piercingly powerful and despite their not having any idea how they got there, why they are there, or what exactly is going on, the execution is pure classic television sitcom, and never once does Olsen or Bettany let our mind wander anywhere else.
As is required for any great sitcom from any era, the supporting cast must support and uplift the leads. There are two actresses who prove to be MVPs with their roles—Teyonah Parris is Monica Rambeau and Hahn’s Agnes. The latter is absolute sitcom gold, all while having us watch her with an eyebrow raised waiting for the other shoe to drop. What that shoe is and what it could reveal could not be more cryptic. In fact, Agnes steals scenes left and right—which is not unusual for sitcoms over television history (hello, Kramer?!).
The name Rambeau may be familiar to MCU fans. She was first introduced to us as Carol Danvers’ (Brie Larson) best friend Maria’s daughter in Captain Marvel. She’s the one we have to thank for choosing Captain Marvel’s colors! She’s all grown up here… but, what is she doing here?
The first episode was shot in front of a live studio audience, much like hundreds of sitcoms have done previously. It feels different, and rightfully so—in the best of ways. What else is a cause of curiosity is why the time jumps between the 50s sitcom to the 70s sitcom and as the WandaVision trailer teases, we will certainly be visiting the 80s, judging by a still that features Hahn in her best Jane Fonda workout gear, complete with leg warmers!
There is a small theme that emerged in the first three episodes. It is so resonant because we have all been there. Wanda and Vision are simply trying to fit in within their new surroundings. They (obviously) keep their superpowers at bay in front of friends and neighbors, but how will that morph over time as the show moves through eras and narratives?
I, for one, cannot wait to find out. Rarely has a show shown such imaginative promise so early.
Grade: A+