‘WandaVision’ was worth the wait
Nabeeha Anwar | Illustration Editor
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It seems fitting that Marvel’s first entry in 2021 would be a show that enamors itself with television — literally.
“WandaVision” is one of the most unique Marvel Cinematic Universe entries because of its presentation and its central question: How do people cope with endless grief? Creator Jac Schaeffer and director Matt Shakman use that question, along with the sitcom format, to tell an artistically fascinating story within the constructs of the greater Marvel library of films. And the series works at its best when it plays with its experimental concept.
The show centers around Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) relocating to Westview, New Jersey, where they live a seemingly perfect sitcom life. Despite Vision having appeared to die at the end of “Avengers: Infinity War,” what S.W.O.R.D. agents and several insiders in Westview are trying to find out is how Vision is alive and what Wanda is doing in the town.
The series expertly imitates many classic sitcoms across various eras, including “I Love Lucy,” “The Dick Van Dyke Show,” “Malcolm in the Middle” and “Modern Family.” And the devil is in the details here, with Schaeffer, Shakman and the entire writing staff capturing everything.
In the pilot, Wanda frantically attempts to cook dinner to impress Vision’s boss for a dinner she had no idea was happening until the boss and his wife arrived. She then nearly destroys her kitchen using her magical powers all while her nosy neighbor, Agnes (Kathryn Hahn), butts in trying to help, and Vision tries to keep his guests entertained.
However, the episode stops at several moments when one guest asks “why they were here” then starts choking on food. Then, the other says “stop it” while the music changes to a more dramatic score, a clock ticks in the background, and the camera zooms in on the main character’s faces. Scenes like this depict a perfect sitcom plot filled with shenanigans fighting with an overwhelming sense that something is horribly wrong.
The entire episode is shot in black and white with a smaller, square aspect ratio. But the homage doesn’t stop there. The sound effects are right out of the ‘50s, the laugh track constantly throws the viewer back 50 years, and the props on set — including a pot of boiling water that looks cartoonishly outdated — all fit the style and sounds from that era of television.
More screen time columns:
- Italian film ‘La Notte’ stunningly illustrates story of loveless marriage
- The 3rd ‘To All The Boys’ movie lacks romance of the original
- ‘Judas and the Black Messiah’ is an honest portrayal of 1960s racism
- ‘Malcolm and Marie’ full of superb acting but redundant lines
The show also includes new opening theme songs from different eras to set the tone for each episode. Kristen Anderson-Lopez and Robert Lopez — known for their work in “Frozen” — expertly match the styles and tone with these songs. Composer Christophe Beck, who also scored “Frozen,” pens the closing credits’ music, the orchestral score for the series and many of the major moments in the series.
The main tension of the series comes from the collision of the ever-changing sitcom world and the “reality” of the situation: Wanda is losing control of the perfect world she created in the quiet town of Westview. Partially from her own memories fading back into the picture, and also through tactics used by agents of S.W.O.R.D. as they try to force her out of Westview.
The show examines Wanda’s grief in several aspects, including through her interactions with the sitcom world. Slowly but surely, she starts to fall apart again as the weight of this world starts to sink in. Her feelings serve as the emotional core of the series and take the Marvel Universe into a new territory that deals with death. Olsen shines in every detail of her performance, from mimicking classic sitcom characters to emotionally addressing her losses.
The way Marvel formats the series might be the shows’ biggest shortcoming. The subplot where S.W.O.R.D. director Tyler Hayward (Josh Stamberg) investigates Wanda and tries to turn the remains of the Vision into a weapon falls mostly flat, as Marvel has dipped into this military too many times — aka the “Captain America” films just as a quick reminder. Also, the final episode does leave Wanda open for more stories but could have offered a few more finite conclusions or explanations for certain characters.
With that being said, “WandaVision” succeeds because the creators went full force with its concept and the episodes aired weekly, building intrigue and fascination between each episode. They even found ways to connect the series with the Marvel Universe by inserting an older Monica Rambeau (Teyonah Parris) from “Captain Marvel,” who is also dealing with the loss of her mom and reckoning with being lost in the blip. Parris is great as Rambeau, albeit in short bursts.
“WandaVision” is an enjoyable show that mixes a strong homage to classic sitcoms while also moving the Marvel Cinematic Universe into new territories by giving Wanda more time to breathe than she had in her previous film appearances.
Published on March 9, 2021 at 10:56 pm
Contact Patrick: pagunn@syr.edu
