This WandaVision review contains only minor spoilers until otherwise indicated.
WandaVision, like all Marvel Cinematic Universe properties, was always going to face an uphill struggle as a standalone entry in one of the world’s largest media franchises. Its truly unique concept, however, sets it apart from other, more generic, entries in the MCU.
Be it films or TV shows, anything Marvel produces relies heavily on the pre-constructed universal plot that centres on The Avengers. Some, like Daredevil and Jessica Jones, are kept at arms length from the central super squad to their benefit. Unfortunately for WandaVision, integration with the plot and elements of the wider franchise is the one downside to an otherwise stellar series. It will also be what prevents it from gripping new none-Marvel fans and being considered one of the best TV shows of recent years.
Elizabeth Olsen and Paul Bettany – reprising their roles from the Avengers movies – star as the titular Wanda Maximoff and Vision. The chemistry between the two is something to behold – as are their respective performances. It is the show’s main anchor and what ultimately kept me invested.
For a robotic man, Paul Bettany’s Vision could well be the most “human” character of all the Avengers, with a lovable social awkwardness but deep, intelligent and emotional undertone. Wanda – positioned here as an anti-hero (I won’t hear anything different) – is perhaps Marvel’s most complex protagonist to date. Her actions here are morally reprehensible and, to be honest, in a disappointing oversight by the writers, she doesn’t get the comeuppance she deserves. Still, the trauma that led her down this path is authentic and Elizabeth Olsen does an excellent job at portraying Wanda’s grief and pain.
WandaVision starts out incredibly strong with an engaging premise and equally intriguing mystery. The first episode is a wonderful homage to 1950s American sitcoms. Filmed before a live studio audience with a multi-camera setup, the traditional black and white episode is like stepping backwards in time. It’s funny, cheesy and domestic – just like the classics of the era. Wanda and Vision, living in idyllic suburban Westview, are happily married but their past is obscure, with neither remembering key dates or events in their lives – including their own wedding. Mystery peppers the episode and made for a surreal, almost scary, tone. This contrasting balance between comedy and the bizarre is simply perfect. It is perhaps one of my favourite ever pieces of television.
Episodes 2 and 3 continue this trend, paying homage to both 1960s and 70s sitcoms, respectively. They are equally as funny and intriguing, and further the mystery surrounding Wanda and Vision’s predicament in some fascinating ways. Episode 3 ends with quite a substantial revelation (and yet more mystery) about the situation our superheroes find themselves in – and is a key turning point for the show.
Episode 4, “We Interrupt This Program”, gives us the first glimpse of life outside of WandaVision‘s enthralling sitcom bubble. It introduces us to some familiar faces (for those people out there who remember every side character in the MCU) and sets up the military organisation S.W.O.R.D as an outside force trying to save the town of Westview from sitcom hell. This is where the series starts to falter – while the opening 3 episodes (and subsequent ones that stick to the intriguing premise) are something unique, episode 4 and pretty much all other outside S.W.O.R.D sequences are the standard Marvel schtick.
Don’t get me wrong, Monica Rambeau and Jimmy Woo (excellently portrayed by Teyonah Paris and Randall Park) are enjoyable side characters, but their whole storyline just feels so… secondary. Alongside Rambeau and Woo is Darcy Lewis (Kat Dennings), reprising her role from Thor. She is an incredibly annoying smart-arse astrophysicist who is also a hacker – because nerds be nerds. Their boss at S.W.O.R.D is Tyler Hayward (Josh Stamberg) filling the comic book trope role of “evil military general” – fascinating. It’s just a shame that the side characters, sub-plots and, generally, the entire world outside of Wanda and Vision’s Westview bubble is so typically boring. If you’ve seen anything Marvel before, you’ve already seen this stuff umpteen times.
After episode 4, the series is split in two. You have the ongoing WandaVision sitcom bubble (which is constantly engaging) and you have the outside world stuff (which is not). As one of my all time favourite sitcoms, episode 6’s parody of Malcolm in the Middle was great – it’s just a shame the concept starts to take a backseat to the S.W.O.R.D stuff.
Big WandaVision spoilers from here – I need to discuss the ending
A crying shame for this series is the handling of Quicksilver (Evan Peters), Wanda’s deceased brother who miraculously reappears in episode 5. For those who don’t know, the MCU version of Quicksilver (portrayed by Aaron Taylor-Johnson) died in Avengers: Age of Ultron; however, Fox’s X-Men version of Quicksilver lived on and was portrayed by none other than Evan Peters. When the latter appears in WandaVision, fan speculation was running wild at the idea of a multi-verse storyline. This does not happen. WandaVision‘s version of Quicksilver is revealed to be an ordinary Westview citizen Ralph Bohner (yup – a dick joke), recast by witch Agatha Harkenss (Katherine Hahn). The word “underwhelming” doesn’t even cut it. Why Marvel even bothered I don’t know.
The end itself is equally underwhelming. That’s not to say it’s bad – it’s ok. But it satisfies neither as a Marvel super-fan’s wet dream or as a narrative payoff. I mean, sure, the Wanda and Vision stuff is great in isolation. But the climatic Avengers style fighting just feels like a step backwards for a series as creative as WandaVision proved it could be.
What’s more, Wanda’s whole arch is just perplexing when you actually consider what she’s done. The people she has trapped in this sitcom-hell of a town (as a means to create a fantasy life for herself and Vision) have clearly suffered at her hands. They have lost months of their lives and been forced into torturously repetitious “roles” to suit Wanda’s fantasy. Not only that, but in the climax, their town suffers a decent amount of destruction, too. The fact she gets away with it pretty much scot-free and isn’t transformed into neither a powerful super-villain or a fully realised, morally ambiguous anti-hero feels like a missed opportunity. I guess being an Avenger makes you a good guy, no matter what you do…
Spoilers end here
Ultimately, WandaVision is a series of two halves. The first three episodes are excellent – sublime even. Some of the best TV you will find anywhere. And glimpses of that are found in later episodes, too. But as the outside world creeps in, WandaVision‘s concept falters and rests its hopes on the tried-and-tested, but somewhat boring, Marvel formula. That said, the chemistry between the lead actors is very engaging and carry WandaVision to being one of the most charming and heartfelt series in the MCU to date. Even if the end does underwhelm, I still highly recommend you give WandaVision a watch.
Overall rating: 8.5/10
All episodes of WandaVision are now available on Disney+.
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Featured Image Credit: Marvel Studios / Disney
