WandaVision

WandaVision is an American television miniseries created by Jac Schaeffer for the streaming service Disney+, based on the Marvel Comics characters Wanda Maximoff / Scarlet Witch and Vision. Set in the Marvel Cinematic Universe (MCU), it shares continuity with the films of the franchise, and takes place after the events of the film Avengers: Endgame (2019). WandaVision is produced by Marvel Studios, with Schaeffer serving as head writer and Matt Shakman directing.

WandaVision
Genre
Created byJac Schaeffer
Based on
Directed byMatt Shakman
Starring
Theme music composer
ComposerChristophe Beck
Country of originUnited States
Original languageEnglish
No. of episodes5 (list of episodes)
Production
Executive producers
  • Kevin Feige
  • Louis D'Esposito
  • Victoria Alonso
  • Matt Shakman
  • Jac Schaeffer
ProducerChuck Hayward
Production locations
CinematographyJess Hall
Camera setup
Running time29–41 minutes
Production companyMarvel Studios
DistributorDisney Platform Distribution
Release
Original networkDisney+
Original releaseJanuary 15, 2021 (2021-01-15) –
present (present)
Chronology
Related showsMarvel Cinematic Universe television series
External links
Production website

Elizabeth Olsen and Paul Bettany reprise their respective roles as Wanda Maximoff and Vision from the film series, while Debra Jo Rupp, Fred Melamed, Kathryn Hahn, Teyonah Parris, Randall Park, Kat Dennings, and Evan Peters also star. By September 2018, Marvel Studios was developing a number of limited series for Disney+, centered on supporting characters from the MCU films such as Wanda and Vision, with Olsen and Bettany returning. Schaeffer was hired in January 2019, the series was officially announced that April, and Shakman joined in August. The series homages past sitcoms, with Wanda and Vision living in a reality that takes them through different decades of television tropes. Filming began in Atlanta, Georgia in November 2019, before production halted in March 2020 due to the COVID-19 pandemic. Production resumed in Los Angeles in September 2020 and completed that November.

WandaVision premiered with its first two episodes on January 15, 2021, and will run for nine episodes until March 5. It is the first series in Phase Four of the MCU. The series was praised by critics for its homages to past sitcoms, dark tonal shifts, and Olsen and Bettany's performances.

Premise

Set three weeks after the events of Avengers: Endgame (2019),[1] Wanda Maximoff and Vision are living an idyllic suburban life in the town of Westview, New Jersey, trying to conceal their true natures. As they begin to enter new decades and encounter television tropes, the couple suspects that things are not as they seem.[2]

Cast and characters
  • Elizabeth Olsen as Wanda Maximoff / Scarlet Witch:
    An Avenger who can harness magic, engage in telepathy and telekinesis, and alter reality.[3][4] Olsen said the series brings the character more in line with the comic book version, including depicting her mental illness,[5] and introducing the "Scarlet Witch" moniker that was not previously used in the Marvel Cinematic Universe (MCU).[6] Executive producer Kevin Feige added that the series explores the extent and origin of Wanda's powers.[7] Olsen felt her "ownership" of Wanda was strengthened during development of the series,[8] which allowed her to explore new parts of the character's personality such as her humor and sassiness.[9]:30 She was thrilled that WandaVision focuses on Wanda rather than telling her story "through everyone else's story lines" as in the films, and was sold on joining the series when Feige mentioned specific Scarlet Witch comic storylines that inspired WandaVision.[2] Olsen was influenced by Mary Tyler Moore, Elizabeth Montgomery, and Lucille Ball for her performance.[10]
  • Paul Bettany as Vision:
    An android and former Avenger created using the artificial intelligences J.A.R.V.I.S. and Ultron as well as the Mind Stone,[3] who was killed during the events of Avengers: Infinity War (2018).[6] Bettany described Vision as "decent and honorable" who "exists for Wanda". He was influenced by Dick Van Dyke and Hugh Laurie for his performance.[10]
  • Debra Jo Rupp as Sharon Davis: A New Jersey resident and wife of Todd, who plays the role of "Mrs. Hart", Wanda and Vision's neighbor, within the fictional WandaVision sitcom.[11][12][13]
  • Fred Melamed as Todd Davis: A New Jersey resident and husband of Sharon, who plays the role of "Arthur Hart", Wanda and Vision's neighbor and Vision's boss, within the fictional WandaVision sitcom.[11][12][13]
  • Kathryn Hahn as Agnes:
    Wanda and Vision's "nosy neighbor".[2] Hahn described Agnes as the neighbor "that won't get off their couch at the end of the night" and is "always in [their] business".[8] Hahn was fascinated by the "jolts of adrenaline and humanity" the MCU provided and the fact it had a "gasp of human magic".[2]
  • Teyonah Parris as Monica Rambeau:
    The daughter of Air Force pilot Maria Rambeau and a captain in S.W.O.R.D. (Sentient Weapon Observation Response Division),[14] who first introduces herself to Wanda and Vision as their neighbor "Geraldine".[15] She has a "toughness and an ability to be a woman" in a male-dominated world.[8] As a child, she looked up to her mother's friend and colleague Carol Danvers / Captain Marvel.[16] Head writer Jac Schaeffer's initial pitch for the series had a different character in Rambeau's role, but she was excited to use Rambeau instead when it was discovered that she was available for the series,[17] with co-executive producer Mary Livanos adding Rambeau's inclusion in the series was a discovery during development that became "really enriched in the show".[9]:28 The series shows what Rambeau has seen and done since her introduction in Captain Marvel (2019),[18] where she was portrayed as a child by Akira Akbar. Parris used Akbar's performance as the starting point for her own, and took Monica's relationships with her mother and Danvers into account.[19]
  • Randall Park as Jimmy Woo:
    An FBI agent working with S.W.O.R.D. who previously was the parole officer of Scott Lang / Ant-Man.[8][20] Park felt introducing Woo using close-up magic, something he was trying to perfect in Ant-Man and the Wasp (2018), quickly showed the character's development since that film, indicating that he was getting better at multiple things and was being assigned to larger cases.[21] Park was taught the magic trick by a magician and spent several days perfecting it for the series.[22]
  • Kat Dennings as Darcy Lewis:
    An astrophysicist working with S.W.O.R.D. who previously interned for Jane Foster and befriended Thor.[23][20] Returning to the role for the first time since Thor: The Dark World (2013), Dennings felt Lewis would not have changed much as a person, but would be older and wiser after going to school to receive her doctorate in astrophysics. Additionally, Dennings felt the character has more confidence in herself now that she is viewed as a boss which she never was in the films.[24]
  • Evan Peters as Pietro Maximoff / Quicksilver:
    Wanda's twin brother who can move at superhuman speed. He was killed during the events of Avengers: Age of Ultron (2015), where he was portrayed by Aaron Taylor-Johnson.[25] Schaeffer and Livanos were eager to bring the character back in the series, and decided to take advantage of the series' notions of "what's real and what's not, and performance, and casting, and audience, and fandom" by having the character be "recast" within the fictional WandaVision program. Schaeffer noted that this plays on the sitcom tropes of recasting characters without "much fuss" and also of having a relative arrive in town who "stirs things up with the family".[26]

Ithamar Enriquez and Victoria Blade appear in the recurring roles as the man and woman in the commercials,[27] along with Jolene Purdy as Isabel Matsueida who plays Wanda and Vision's neighbor "Beverly" in Westview.[28][27][13] Other residents of Westview include Asif Ali as Abilash Tandon who plays Vision's co-worker "Norm"; David Lengel as Harold Copter who plays "Phil Jones";[27][13] Amos Glick as Dennis, the mailman;[27] Emma Caulfield Ford as Dottie Jones, Phil's wife and a "skeptical mom who rules the neighborhood with an iron fist and poison smile";[29][30] and David Payton as John Collins who plays "Herb".[27][13] Frequent MCU stuntman Zac Henry appears as Franklin, a S.W.O.R.D. agent who enters Wanda's reality,[31] and Wesley Kimmel and Sydney Thomas appear as the boy and girl in the commercials.[32] Josh Stamberg appears as S.W.O.R.D. acting director Tyler Hayward,[33] with Alan Heckner and Selena Anduze as S.W.O.R.D. agents Monti and Rodriguez.[34] Isaiah Knott has been cast in an undisclosed role.[35]

Episodes
No.TitleDirected byWritten byOriginal release date
1"Filmed Before a Live Studio Audience"Matt ShakmanJac SchaefferJanuary 15, 2021 (2021-01-15)

Newlywed couple Wanda and Vision move into the town of Westview in a 1950s setting. Despite Vision being an android and Wanda having telekinesis and reality-warping abilities, they attempt to blend in. One day they notice a heart drawn on their calendar but neither can remember what the occasion is. While Vision goes to his job at Computational Services Inc., Wanda decides that the heart represents their anniversary. Their neighbor Agnes introduces herself to Wanda and helps her prepare to celebrate that night. Vision amazes his co-workers with his speed but is unsure what his company actually does. He is reminded that he and Wanda are hosting his boss, Mr. Hart, and his wife for dinner that night, which is what the heart represents. Wanda and Vision struggle to hide their abilities while making a last-minute dinner for the Harts. While interrogating Wanda and Vision, Mr. Hart chokes on his food, and Vision uses his abilities to save him. All of this takes place in the fictional sitcom WandaVision which someone is watching on a television.

A commercial during the WandaVision program advertises a Stark Industries ToastMate 2000 toaster oven.
2"Don't Touch That Dial"Matt ShakmanGretchen EndersJanuary 15, 2021 (2021-01-15)

In a 1960s setting, Wanda and Vision hear strange noises outside their house. They prepare their magic act for a neighborhood talent show. Wanda and Agnes spend the day with the show's planning committee, led by Dottie, and Vision attends a neighborhood watch meeting, where he accidentally swallows some chewing gum. Wanda befriends another neighbor, Geraldine, and notices more strange things: a yellow and red toy helicopter in their black-and-white world; a voice on the radio that seems to be speaking to her; and a red bloodstain. Thanks to the gum caught in his internal mechanisms, Vision appears to be intoxicated at the talent show and publicly reveals his abilities. Wanda uses her own abilities to make this look like simple magic tricks and fixes Vision by removing the gum. They return home, and Wanda becomes visibly pregnant. When they see a strange beekeeper emerging from a manhole on their street, Wanda resets their reality to before the figure appears. The setting then becomes colorful as it changes to the 1970s.

A commercial during the WandaVision program advertises Strücker watches.
3"Now in Color"Matt ShakmanMegan McDonnellJanuary 22, 2021 (2021-01-22)

In a 1970s setting, Dr. Nielson checks on Wanda's pregnancy and says she is four months along and everything is fine before leaving for an intended holiday with his wife. While Vision sees Nielson out, he sees his neighbor Herb unknowingly cut through their wall. Wanda and Vision paint a nursery while debating what to name their child before Wanda's pregnancy elevates to six months. When she begins contractions, her abilities begin to move things in the house and eventually shut down the entire town's power. Geraldine arrives and helps Wanda deliver twins Tommy and Billy. Vision catches Agnes and Herb gossiping outside. They talk about Geraldine, who has just arrived in town and does not have a home or family. Inside, Wanda interrogates Geraldine after the latter reveals that she knows Ultron killed Wanda's twin brother Pietro.[lower-alpha 1] Wanda notices that Geraldine is wearing a pendant with a sword emblem on it. When Vision returns, Geraldine is gone. Outside of Westview, Geraldine is cast out from a wall of static and is surrounded by S.W.O.R.D. agents.

A commercial during the WandaVision program advertises Hydra Soak bath powder.
4"We Interrupt This Program"Matt ShakmanBobak Esfarjani and Megan McDonnellJanuary 29, 2021 (2021-01-29)
Captain Monica Rambeau, an agent of S.W.O.R.D., returns to life following the Blip[lower-alpha 2] to find her mother Maria has died of cancer. Three weeks later, Monica returns to work and is sent by Acting Director Tyler Hayward to help FBI agent Jimmy Woo with a missing persons case in Westview, New Jersey. They discover a hexagonal static CMBR field surrounding the town, which Monica is pulled into. Within 24 hours, S.W.O.R.D. establishes a base around the town and sends drones and an agent in to investigate. Dr. Darcy Lewis studies the phenomena and discovers broadcast signals for the sitcom WandaVision. They use these to observe events inside the town, learning that real residents have been "cast" in the sitcom and seeing Monica appear as "Geraldine". Darcy and Jimmy unsuccessfully attempt to use the radio to contact Wanda. When Monica mentions Ultron, Wanda casts her out of the town. The sitcom illusion disappears, and Wanda sees Vision appear as he did when he died. Horrified, she restores the illusion.
5"On a Very Special Episode..."Matt ShakmanPeter Cameron and Mackenzie DohrFebruary 5, 2021 (2021-02-05)

In a 1980s setting, Wanda and Vision struggle to stop Tommy and Billy from crying. Agnes offers to help look after the boys, but Vision questions her behavior. He and Wanda are interrupted when Tommy and Billy suddenly age-up to 5 years old. When a dog appears at their house, the boys ask to keep it and Agnes suggests the name Sparky. Wanda almost reveals her abilities to Agnes, concerning Vision, while the boys age-up again to 10 years old. At work, Vision reads an email from S.W.O.R.D. that reveals the situation in Westview. He breaks through to a real Westview resident and discovers that Wanda is seemingly controlling the town. S.W.O.R.D. sends a drone from the 1980s into Westview and attempts to kill Wanda on Hayward's orders. Wanda emerges from the static field with the drone and warns Hayward to leave her alone. Scared by the drone, Sparky runs away and later dies. Vision confronts Wanda about her actions, but they are interrupted when Pietro arrives; watching the broadcast, Darcy notes that Pietro has been "recast".

A commercial during the WandaVision program advertises Lagos paper towels.

Production

Development

By September 2018, Marvel Studios was developing several limited series for its parent company Disney's streaming service, Disney+, to be centered on supporting characters from the Marvel Cinematic Universe (MCU) films who had not starred in their own films, such as Wanda Maximoff. Actors who portrayed the characters in the films were expected to reprise their roles for the limited series, including Elizabeth Olsen as Maximoff. The series were expected to be six to eight episodes each, have a "hefty [budget] rivaling those of a major studio production", and be produced by Marvel Studios rather than Marvel Television, which produced previous MCU television series. Marvel Studios President Kevin Feige was believed to be taking a "hands-on role" in each limited series' development,[36] focusing on "continuity of story" with the films and "handling" the actors who would be reprising their roles from the films.[37] By the end of October, Paul Bettany's Vision was expected to play a significant role in the series, which would focus on the relationship between Maximoff and Vision.[38] In the following months, the titles Vision and the Scarlet Witch and The Vision and Scarlet Witch were both reported for the series.[39][40][41]

Jac Schaeffer was hired in January 2019 as head writer of the series after previously writing for the Marvel Studios films Captain Marvel (2019) and Black Widow (2021).[40][42] Schaeffer was set to write the first episode and executive produce the series.[40] That April, Disney and Marvel officially announced the series as WandaVision.[3] and Matt Shakman was hired to direct and serve as an executive producer in August.[43][44] Feige also executive produces alongside Marvel Studios' Louis D'Esposito and Victoria Alonso.[45]:50[46]:20 Feige said the series would tell the story of Maximoff and Vision, show what Maximoff can do, explore who Vision is, and introduce the comic book name "Scarlet Witch" to the MCU "in ways that are entirely fun, entirely funny, somewhat scary, and will have repercussions for the entire future of Phase Four of the MCU".[47] He added that viewers would not need to be familiar with the MCU to understand the series, but there would be a "wealth of rewards" for those who have seen all the films and knew the plans for Phase Four.[2]

The series consists of nine episodes,[48] initially presented in a half-hour comedy series format.[18] The first three episodes are each around 30 minutes long, with the remaining episodes having more varied runtimes,[49] totaling approximately six hours of content.[50][51] Episode titles for the series are named after common phrases that were traditionally featured in promotions or the opening credits of television series.[52] During development, the budget for each episode was reported to be as much as $25 million.[53] In January 2021, Schaeffer said she was unable to talk about any potential plans for a second season, but said the series would feel "very complete".[54]

Writing

Schaeffer received comics material and an outline of what Marvel Studios hoped to accomplish with the series, in order for her to help shape their ideas into a coherent structure.[9]:28 Feige came up with the idea of having Maximoff and Vision living in a fantasy world of "suburban bliss" based on his love of sitcoms and how they can be used to escape from reality;[2] Schaeffer helped figure out what that meant for the characters.[44] Feige was visually inspired by Mike del Mundo's "Norman Rockwell meets Leave it to Beaver" covers for the comic book series The Vision by Tom King and Gabriel Hernandez Walta,[55][56][57] and pitched the series to Olsen and Bettany as a combination of that comic book and the "House of M" storyline by Brian Michael Bendis and Olivier Coipel.[44][58] Other inspiration was taken from the "Avengers Disassembled" storyline by Bendis and David Finch that preceded "House of M",[57] as well as The Vision and the Scarlet Witch, including the run by Bill Mantlo and Rick Leonardi,[57][59] and the run by Steve Englehart and Richard Howell,[57][60] and the "Vision Quest" storyline from West Coast Avengers by John Byrne.[61] Feige, Schaeffer, Shakman, and co-executive producer Mary Livanos dedicated themselves to "nail[ing] down" the series' irreverent tone.[2] Schaeffer was inspired by the MCU film Thor: Ragnarok (2017) as well as the Marvel Comics-based series Legion, which she felt had broken the mold of what Marvel stories could be and were daring, original, and "bananas", which she felt allowed WandaVision to also be unique and different.[62][63]

WandaVision takes place after the events of Avengers: Endgame (2019),[16] and directly sets up the Phase Four film Doctor Strange in the Multiverse of Madness (2022),[2] in which Olsen reprises her role as Maximoff.[64] Schaeffer said Feige handled all the connections between the various MCU projects, but she and Shakman did have conversations with the creative teams of the untitled Spider-Man: Far From Home sequel and Doctor Strange in the Multiverse of Madness, as well as Marvel Studios' other Disney+ series, to discuss the connections between stories and to ensure an effortless "handoff" from WandaVision to the films.[65][66][63] The series features a fictional sitcom called WandaVision,[67] and has been described as part "classic sitcom", part "Marvel epic" by Feige,[43] "super avant-garde and weird" by Bettany,[68] a "full-on action movie" mixed with sitcoms by fellow actor Teyonah Parris,[69] and a series that is "marrying epic superhero action with small-town sitcom silliness" by Livanos.[2] Livanos added that the series would take advantage of audience expectations for sitcoms and deviate from the family sitcom structure in some episodes, while making the audience question where WandaVision fits into the MCU timeline.[2][44]

Schaeffer hired eight writers for the series' writers room, including four women and several people of color, because of her belief that "stories are better the more perspectives you have".[70] Megan McDonnell served as a staff writer on the series, before being promoted to story editor.[71] Many of the writers had previous television experience, which Schaeffer used to help craft each episode within the larger narrative,[9]:29 as one of the initial challenges was figuring out how to tell the story in the long-form structure of a limited series rather than a film.[9]:29 Schaeffer said the series could never have been a film because it needed to be established with a true television aesthetic for the sitcom scenes before that could be broken.[62] She found the central idea of Wanda being responsible for the series' sitcom reality to be a simple concept, and felt it would be more compelling if it was revealed as a mystery first. The writers decided to do this with Wanda and Vision through the first three episodes, before the fourth episode retold those events from a real world perspective to provide answers for viewers.[72] When devising these early episodes, Schaeffer was concerned about how long they would be able to remain in the sitcom reality without needing to reveal parts of the larger mystery.[73] Following the "enormous info dump" in the fourth episode, Schaeffer explained that there would still be more to learn about Wanda's perspective through the rest of the series, but she hoped that providing answers then would help the audience experience the rest of the series as an "emotional and a psychological journey, rather than a sneaky mystery the whole way".[72] Schaeffer compared the final series to a multi-issue comic book,[9]:29 and said it remained very close to her original pitch.[9]:28

Shakman and Schaeffer said the series was "a love letter to the golden age of television",[2][44] though it pays tribute to many eras of American television.[50] They focused on family sitcoms over other types such as workplace sitcoms because the family aspect kept the series centered.[67] Schaeffer and Shakman studied past sitcoms to learn their "trappings and styles",[2] while avoiding tropes from older sitcoms that would not be acceptable in a modern series.[67] Schaeffer, Shakman, and Feige spoke with Dick Van Dyke, the star of the eponymous 1960s sitcom, to learn about the making of that series.[2][44] Other sitcoms that inspired the series include I Love Lucy, My Three Sons, Father Knows Best, The Adventures of Ozzie and Harriet, Bewitched, Family Ties, Out of This World, Friends, 30 Rock, Parks and Recreation, Modern Family, and The Office.[45]:45[18][7][74] Meta references are made to Full House, which starred Olsen's older sisters Mary-Kate and Ashley.[45]:45 The fictional sitcom features fake commercials that are "slightly nefarious",[67] including promotion for the organization Hydra,[10] which Feige said were "part of the truths of the show beginning to leak out". He felt that new MCU viewers would see these as strange versions of commercials from the different sitcom eras, while viewers well versed in the MCU would be able to see connections in the commercials to past events.[10] Several commentators believed the commercials were analogies for traumatic events in Maximoff's life.[75][76][77] Schaeffer acknowledged this speculation about the Easter eggs in the commercials, while also highlighting their role in giving the series a structure and rhythm that is "very much part of the fabric of the sitcom aesthetic".[66]

Schaeffer compared her work on the series to the film Black Widow, saying WandaVision would be the polar opposite to that film's style of aggressive, visceral action.[70] Shakman and Schaeffer watched all the existing footage of Maximoff and Vision, including footage that did not make it into the previous MCU films such as unused dailies.[78] While exploring this footage, Schaeffer was drawn to mundane character moments such as Maximoff and Vision enjoying their time in Scotland in Avengers: Infinity War (2018).[9]:29 Schaeffer said there was a wonder and sincerity to the pair, and felt their family dynamic within a sitcom setting would result in a calm, warm feeling despite the ridiculous premise.[45]:45 She found the pair appealing because they are both outsiders who "find each other. They're both different with capital Ds."[2] Schaeffer was committed to making sure Maximoff was depicted as a fully realized character in the series, including showing aspects of her that had not been seen much previously such as her joy and humor.[62] A great concern for Schaeffer, Livanos, and the writers was avoiding a portrayal of Maximoff that made her seem crazy or out of control, as some of her comic book appearances have done, and Schaeffer hoped the series would give a "nuanced portrayal of a very complicated woman".[63] The series explores how Maximoff grew up in an Eastern European country and relied on black-market American products such as television.[44] The series also introduces the organization S.W.O.R.D. to the MCU. Schaeffer explained that its name was changed from Sentient World Observation and Response Department as it is in the comic books to Sentient Weapon Observation Response Division due to a reason related to the larger story.[79]

Casting
Olsen and Bettany at the 2019 San Diego Comic-Con

With the official announcement of the series in April 2019 came confirmation that Olsen and Bettany would reprise their roles of Maximoff and Vision, respectively, in the series.[3] Bettany agreed to join the project after meeting with Feige and D'Esposito, who pitched an "exciting and bonkers" idea for his character's return in the series. Olsen was originally nervous with Marvel's move to television and how it could connect with the films, but was excited when she learned of Schaeffer's involvement as well as the comic book storylines that inspired the series.[44]

Teyonah Parris was revealed as cast in the role of Monica Rambeau in July 2019. Rambeau was introduced to the MCU as an eleven-year-old in Captain Marvel, which is set in 1995; Akira Akbar portrayed the character in that film.[16] A month later, at Disney's biennial convention D23, Kat Dennings and Randall Park were set to reprise their respective MCU film roles as Darcy Lewis and Jimmy Woo,[23] with Kathryn Hahn also cast in the role of Agnes.[23][2] Dennings previously appeared in the films Thor (2011) and Thor: The Dark World (2013),[23] and was surprised and thrilled to be brought back to the MCU for WandaVision after so many years.[24] Park joined the series following a general meeting with Marvel to discuss Woo's future in the MCU following his introduction in Ant-Man and the Wasp (2018).[6] Schaeffer felt it was fun to feature Dennings and Park in the series since both were veteran sitcom actors, previously starring in 2 Broke Girls and Fresh Off the Boat, respectively.[8]

The series' official trailer revealed that Fred Melamed and Debra Jo Rupp would appear in the series,[59] portraying Todd and Sharon Davis. They appear as Maximoff and Vision's neighbors, "Mr. and Mrs. Hart", within the fictional WandaVision program.[11][12][13] Rupp previously had a long-running role in the sitcom That '70s Show and was comfortable with WandaVision's sitcom style. She was asked to join the series by Shakman, who she had worked with at the Geffen Playhouse where Shakman is the artistic director.[80] The series' fifth episode introduces Evan Peters as Wanda's brother Pietro Maximoff. The character was previously portrayed in the MCU by Aaron Taylor-Johnson, while Peters played a different version of the character named Peter Maximoff in 20th Century Fox's X-Men film series.[25]

Emma Caulfield Ford was cast in October 2019 as Dottie Jones, after being approached by Schaeffer to audition for the role; they previously worked together on the film Timer (2009).[81][29] Asif Ali was revealed to be cast in the series in October 2020,[82] as Abilash Tandon, who plays Vision's co-worker "Norm",[27][13] as was Jolene Purdy in the recurring role of Isabel Matsueida, who plays "Beverly", Wanda and Vision's neighbor.[28][27][13] Isaiah Knott revealed that he had been cast in the series in February 2021.[35]

Design

Costume designer Mayes C. Rubeo said it was rare for a singular piece of media to progress through so many different decades without its characters aging.[46]:6 Olsen enjoyed exploring how women were viewed in society in each decade through Maximoff's costumes.[10] The suit and wedding dress worn by Vision and Maximoff in the opening titles were both made for the series, with the dress created as an homage to Audrey Hepburn. With the series shifting from black and white to color, the various designers worked together to ensure a unified look for the characters and sets. Production designer Mark Worthington said his team learned how different colors work in a black-and-white format.[46]:6–7 Prop designer Russell Bobbit previously worked on the film Pleasantville (1998), which Shakman said the series had a "spiritual connection" to along with The Truman Show (1998).[78]

The series end credits features "swarms of LED-style glowing lights forming into constructs from the show" that is reminiscent of the art style in "House of M".[83][84][85] Charles Pulliam-Moore at io9 felt the credits were "undeniably Marvel in the big screen sense", even though WandaVision was "embrac[ing] its identity as a streaming miniseries".[83]

Filming

Filming began in early November 2019,[86] at Pinewood Atlanta Studios in Atlanta, Georgia,[87] with Shakman directing,[43] and Jess Hall serving as cinematographer.[88][50] The series was filmed under the working title Big Red.[87] Filming was previously reported to begin on September 21 in Los Angeles, California.[89] Bettany felt the approach to the series was "very clever" given it had to make six hours of content on a budget similar to a two-and-a-half-hour MCU film. This included filming content from different episodes at the same time, which was possible since Shakman directed all of the episodes.[50] Shakman did try to shoot things chronologically to aid the actors with the progression through various sitcom eras.[9]:34 The actors were shown episodes of past sitcoms before filming to help them "capture the spirit of each tone and style",[45]:50 since the approach to comedy is different in each decade.[10] Dialect coach Courtney Young helped the actors sound and move like people from each era,[78] with Olsen saying the manners of each decade were noted.[10]

The first episode of the series filmed for two days in black and white, and had a live studio audience present, to mimic sitcom filming.[50][2] Olsen had previously indicated that there were discussions regarding whether the series would also use a laugh track.[6] For episodes with a laugh track that was not recorded live, the series worked with an expert to explain how laugh tracks changed throughout time, which helped inform the sound design.[78] When shooting scenes in black and white, Bettany was painted blue, rather than Vision's maroon color, since the blue appeared better in the grayscale image. Both Olsen and Bettany found the experience of the premiere to be surreal and unique.[2] A 4:3 aspect ratio is also used for the black and white scenes.[55] Shakman enjoyed being able to experiment with the aspect ratio, having it be directly related to the narrative.[78]

Other period-specific touches were done in each episode, such as period-appropriate camera lenses and lighting and live special effects.[2] Shakman wanted to ensure the sitcom elements never felt like a parody, but were as authentic as possible.[45]:50 Hall used 47 different camera lenses for the seven time periods covered in WandaVision, many of which were modern lenses custom modified to keep characteristics of the actual period lenses. As for lighting, tungsten lights were mainly used for the 1950s to the 1970s episodes, as those were the lights of the era, with LED lighting being used starting in the 2000s episodes, as Hall explained that was "the correct time line for when this equipment entered the filmmaking vocabulary".[46]:6 After the first two episodes mainly reference The Dick Van Dyke Show and Bewitched, respectively,[30] further episodes have multiple sitcom homages in them, such as the third referencing both Good Times and The Brady Bunch,[90][30] "alluding to how television's popularity grew throughout the years",[90] eventually emulating "the talk-to-the-camera, shaky-camera, documentary style" of some modern sitcoms.[7] Shakman used lenses, lighting, and sound design to change the mood for moments when something goes wrong with Maximoff's illusion, inspired by The Twilight Zone. He felt the transition to these moments from the sitcom scenes was "very dramatic".[91]

Location shooting took place in the Atlanta metropolitan area throughout December 2019 and February 2020.[92][93] A filming wrap party for the series occurred on March 1,[94] ahead of a planned four-week hiatus,[45]:50[95]:1:07 but all production halted on March 14 due to the COVID-19 pandemic.[96] Filming resumed in Los Angeles in September 2020 with rigorous COVID-19 safety protocols in place,[45]:50 to complete the backlot and outside filming necessary for the series.[78][90] Olsen found it hard resuming production after being isolated during the shutdown, while Bettany disliked that the safety protocols meant the actors had to return to their trailers when not filming, which he felt removed much of the camaraderie between the cast and crew.[95]:1:29–2:23 Filming took place on Blondie Street at the Warner Bros. Ranch in Burbank, California, where past sitcoms had also been filmed. Shakman felt the Blondie Street backlot had "that weird sense of fakeness" that no real-life street could replicate.[2] Production on the series wrapped by mid-November,[97] with Olsen shooting back-to-back with Doctor Strange in the Multiverse of Madness.[98]

Post-production

During the production shutdown, Shakman began editing what had already been filmed and was able to "polish it up" before filming resumed. This informed him of how to approach a few things in a different way,[9]:34 but the series was not creatively altered.[18] Tim Roche, Zene Baker, and Nona Khodai served as editors.[46]:20[99] In the first three episodes, film cuts and rewind effects were employed to go along with the practical effects shot. Visual effects supervisor Tara DeMarco said contemporary visual effects were used to remove wires and smooth the cuts, and occasionally to create wire gags that were not filmed practically.[46]:8 Post-production work on existing footage continued after filming resumed, and Shakman said working on every step of the process at once felt "schizophrenic".[9]:34 Bettany estimated that the series had more visual effects shots than the 2,496 in Avengers: Endgame.[100] Visual effects for WandaVision were created by Digital Domain, Framestore, Industrial Light & Magic, Lola VFX, Monsters Aliens Robots Zombies, RISE, Rodeo FX, SSVFX, The Yard VFX, and Zoic Studios.[101]

Music

In January 2020, Christophe Beck announced that he would compose the score for the series, after previously scoring Ant-Man (2015) and Ant-Man and the Wasp.[102] Beck paid homage to the sitcoms in each time period through his instrumentation, compositional style, and period-specific recording and mixing techniques. Earlier episodes feature small orchestral ensembles, with later episodes having more of a rock-pop style, and the music becoming more "pervasive" as the series progresses.[46]:9 Beck had hoped to match the spotting of each sitcom era as well, but found that this would not always work due to modern audiences expecting more music than older sitcoms would have included.[103] Michael Paraskevas and Alex Kovacs co-composed the series' music,[104] with Kovacs hired due to his experience with older orchestration techniques and jazz music which Beck found helpful when writing for the series' early episodes. Beck was more comfortable once the episodes required music inspired by the 1980s and 1990s.[103] To connect the music for the different sitcom eras, as well as the more tradional music for outside the sitcom reality, Beck composed several themes that are used in the different styles, which was possible since he knew where the series and characters were going from the beginning.[46]:9[103] Beck was most excited for the opportunity to write a definitive theme for Wanda that is heard during the series' end credits, which he hoped other composers would also use for the character's future MCU appearances. Beck also wrote a love theme for Wanda and Vision that he said would convey feelings of love, tragedy, and sadness, which he compared to the romance music he composed for the series Buffy the Vampire Slayer.[103]

In December 2020, Robert Lopez and Kristen Anderson-Lopez were announced to have written theme songs for some of the series' episodes. They were approached for the series by Shakman, who was friends with Lopez at college, and they had previously worked with Beck on the music for Disney's Frozen franchise.[105][106] In order to tie their themes together, Lopez and Anderson-Lopez created a four-note motif that worked in each of the theme song styles.[107] The first two notes of the motif are a major octave, and the last two are a tritone, which is also known as "the devil's interval"; this was their way of saying musically that the series was a "big bright-colored swing while also being really unsettling".[108] Lopez described the motif as "kind of like the WandaVision call-out, easily identifiable in some way in each song" that was incorporated in different ways each time.[46]:9[107] The pair used their knowledge of sitcoms from watching them as they grew up, and found the 1990s to be the most challenging era to write a theme song for due to them both being at college during that decade when they did not have a television,[109] while the 1980s was their favorite. Anderson-Lopez added that it was challenging to ensure the themes were not "parodying any one show" but "would evoke all of the iconic songs from an entire decade and be their own thing". She also felt it was their job with the theme songs to establish the tone, place, and time of the episodes in lieu of title cards providing such information.[107] The couple also sang on many of the theme songs, something they normally do not do for the final versions of their songs, which Anderson-Lopez attributed in part to the pandemic. They were joined by a group of backup singers.[109][107]

Beck completed work on the series' score in February 2021.[103] Soundtrack albums for each episode, including Beck's score and the theme songs by Lopez and Anderson-Lopez, are being released digitally by Marvel Music and Hollywood Records from January 22 to March 12, 2021, one week after each episode premieres.[110][111]

Marketing

At the 2019 D23, a teaser for the series was shown that combined footage of Maximoff and Vision from previous MCU films with images from old sitcom television series The Dick Van Dyke Show and Father Knows Best.[43][6] The series was promoted as part of Expanding the Universe, a Marvel Studios special that debuted on Disney+ on November 12, 2019.[42] In December, Feige debuted the first image from the series at Comic Con Experience. Vinnie Mancuso of Collider said it was "very interesting", highlighting the "old-school black and white" coloring.[112] A commercial for the series and fellow Marvel Studios Disney+ series The Falcon and the Winter Soldier and Loki was shown during Super Bowl LIV.[113] Inverse's Dais Johnston found visual references to past sitcoms in the commercial, including The Dick Van Dyke Show, Leave It to Beaver, Bewitched, The Brady Bunch, Roseanne, and Full House. They thought the series would be a "must-see" for Marvel fans as well as "anyone looking for a hit of nostalgia: the era-spanning framework means anyone can relive the shows of their childhood".[114] Julia Alexander of The Verge said the footage "wasn't much" but offered "enough glimpses to tease fans".[115] Haleigh Foutch at Collider felt of all the Super Bowl commercials, Marvel's "stole the whole show". She was most excited by the "utterly strange and unpredictable looking" WandaVision footage.[116]

The series' official trailer was released on September 20, 2020, during the 72nd Primetime Emmy Awards.[117] The trailer received 55.7 million online views within 24 hours, including 36.1 million on YouTube, 4.9 million on Facebook, and 10.1 million on Instagram, which was believed to be the highest number ever for a streaming service's television series trailer. WandaVision also had over 302,600 social mentions, trending on Twitter immediately after a teaser aired during the Emmy Awards ahead of the full trailer's release, and ultimately trending fourth on Twitter. The trailer was the number two trending video on YouTube.[118] Ethan Anderton from /Film said the footage in the trailer looked like "one of the most trippy Marvel projects to date". He also noted more lighthearted aspects of the trailer such as Vision wearing a Halloween costume of the character's comic book design.[119] Matt Patches at Polygon called the trailer "a hoot, full of bright colors and odd behavior", adding that it still left much of the series a mystery.[120] Comic Book Resources' Noah Dominguez said the trailer "offers quite a bit in terms of content" with "a vivid look at some of the visual tricks on display".[121] Charles Pulliam-Moore of io9 called the trailer's use of "Twilight Time" by The Platters "the most haunting" of all of its strange features, and felt the trailer's editing created "the effect of rapidly flipping through television channels in search of something good to watch".[59] The Hollywood Reporter's Richard Newby described the trailer as "jam-packed with information" and felt that it "gives fans quite a lot to look forward to, as well as some mysteries to ponder over leading up to the premiere".[60] After actors from past Spider-Man films were revealed to be appearing in the untitled Spider-Man: Far From Home sequel, Graeme McMillan of The Hollywood Reporter saw the series' official trailer "in a new light", suggesting the different versions of Maximoff and Vision that appear in the series were because of Maximoff "breaking down walls between different realities", which could set up Doctor Strange in the Multiverse of Madness and the untitled Spider-Man film.[122]

In early December, six posters for the series were released daily, each depicting a decade from the 1950s through the 2000s. Pulliam-Moore noted that with each new poster, "different elements shift and morph, both reflecting the passage of time and WandaVision's plot developments".[123] The release of the posters was followed by a new trailer that debuted at Disney's Investors Day presentation. Anderton noted for /Film that the trailer featured more non-sitcom-inspired footage than previously seen, with "a lot to soak in".[124] Chaim Gartenberg at The Verge called the new trailer "mind-bending",[125] while Tom Reimann of Collider described it as "delightfully weird" and drew comparisons to the "House of M" comic book storyline.[126] Tony Sokol at Den of Geek highlighted the trailer's use of The Monkees' song "Daydream Believer", believing the title and lyrics reflected Maximoff's state well, though he noted that the music becomes "barely recognizable under increasing layers of psychedelic weirdness".[127] The trailer received 9 million views on YouTube.[128] The first two episodes of the series Marvel Studios: Legends, released on January 8, 2021, explore Maximoff and Vision using footage from their MCU film appearances.[129]

Disney's marketing team conceived its campaign for the series roughly a year-and-a-half before its release. Including the aforementioned trailers, its outdoor, digital, television, and magazine cover advertisements yielded 2.14 billion impressions. Analytics firm RelishMix determined the social reach for the series within its "social media universe" was 263,000, which was "lightyears ahead of most streaming shows". The various trailers, ads, and interviews posted to YouTube garnered the most awareness and engagement for WandaVision, with RelishMix noting that content posted to Marvel, Disney, and Disney+'s official channels was then reposted on fan channels. Leading up to, and including, the series premiere date, advertisements, "special-look stunt interstitials, co-branded takeovers, on-air graphic integrations, in-show integrations, and custom talent content" appeared on the various channels and assets of Walt Disney Television, ESPN, and Hulu, while billboards were seen in major cities such as New York and Los Angeles. The series' Instagram account created a "never-before-done 'reality bending' grid that updates on its own", while custom emojis on Twitter updated each week as WandaVision progresses through the decades. Talent and influencers were sent "a TV-dinner box that had a custom TV tray, utensil set, coasters, drinking glasses, and a [custom] journal designed to look like a vintage TV Guide".[128] In January 2021, Marvel announced their "Marvel Must Haves" program, which reveals new toys, games, books, apparel, home decor, and other merchandise related to each episode of WandaVision each Monday beginning January 18, 2021.[130]

Release

WandaVision premiered on January 15, 2021, with the release of its first two episodes on Disney+.[131] The other seven episodes are scheduled for release weekly until March 5.[48][131] Marvel Studios considered releasing the entire season at once, but chose weekly releases after seeing the "fun of week-to-week" provided by the Disney+ Star Wars series The Mandalorian. Feige said the episodes were built with the weekly release in mind, so the audience could "try to guess what happens next, to have a week speculating or rewatching and building that anticipation." He felt binge-watching the series after all the episodes were released would be an "equally fun experience".[49] The first two episodes were initially listed as "Episode 1" and "Episode 2" on Disney+, with their actual titled revealed a few days after their release.[132] Hoai-Tran Bui at /Film originally assumed all the episodes would be untitled, and wondered if the titles were being withheld upon release to avoid spoilers despite not finding the first two titles to be particularly revealing.[133]

Shakman said the series was able to premiere so soon after filming completed due to post-production work beginning during the series' COVID-19 production shutdown.[9]:34 Schaeffer felt the series was "suited to [being released during] this moment in time", amidst the pandemic, because it is a "reflection of a lot of the anxiety that we're feeling, and a lot of the pathos and chaos of [2020], so it feels very right to me".[9]:35 Esquire's Matt Miller felt WandaVision had "incredible timing" with its release, since much of the audience was "collectively escaping to nostalgia to cope with a pandemic and the general chaos of the real world", similarly to what Wanda was doing within the Westview reality and said the series was "commenting on the very nature and purpose of consuming comic book entertainment".[134] The series was originally announced as releasing in early 2021,[135] before being moved forward to a December 2020 release in February 2020.[136] It was then moved back to the early 2021 slot in November 2020.[137] It is the first series in, and the start of, Phase Four of the MCU.[18]

Reception

Critical response
WandaVision: Critical reception by episode

The review aggregator website Rotten Tomatoes reported a 93% approval rating with an average rating of 7.91/10, based on 153 reviews. The site's critical consensus reads, "Part loving homage to TV history, part off-kilter mystery, WandaVision is a wonderfully weird and strikingly bold step into the small screen for the MCU—and a perfect showcase for Elizabeth Olsen and Paul Bettany".[138] Metacritic, which uses a weighted average, assigned a score of 77 out of 100 based on 40 critics, indicating "generally favorable reviews".[139]

TVLine's Rebecca Iannucci gave the first three episodes an "A", calling them "an intriguing, fresh, genuinely delightful deviation from what we've come to expect", and praising the performances of the cast, specifically Olsen. She did question if the series would have been better suited releasing its episodes all at once as opposed to weekly.[140] Giving the series an "A-", Sam Barsanti at The A.V. Club called WandaVision "the ultimate expression" of the MCU's potential to tell new kinds of stories, and a series with the potential to be a "riveting" part of the MCU.[141] Calling WandaVision Marvel's oddest series to date, Daniel Fienberg of The Hollywood Reporter said it was not weirder than Guardians of the Galaxy but was "creatively courageous [to give] a postmodern exploration of sitcom conventions to an audience expecting snazzy suits and explosions." Fienberg likened the series to meta-sitcoms Get a Life and That's My Bush! rather than a traditional comic book series, and called it Marvel's version of the short Too Many Cooks.[15] The shift between each decade in the episodes was "simply remarkable" to Liz Shannon Miller of Collider. Miller praised Olsen and Bettany, and said Hahn was "too good for mere words to encompass". Awarding the series an "A", Miller concluded that the MCU had not featured this level of experimentation before and the series was "actually [daring to] really challenge the viewer".[142] Darren Franich at Entertainment Weekly said it was an unusual start to Phase Four, and gave the first three episodes a "B+". He described the scenes that "lovingly conjure the mood of very old television shows" as the best parts of the episodes, but was concerned that the mystery of the series would be "like just another movie" with the potential to become a familiar superhero story. Franich said the success of the series would be determined by how this is handled.[143]

Caroline Framke, in her review for Variety, called WandaVision "an admirably weird introduction to the new age of Marvel TV", but felt it could be confusing to casual MCU viewers as well as fans of the sitcoms that inspired it. Framke also did not find any of the episodes "particularly funny", and felt the series' best moments were when Maximoff and Vision were shown to not belong in their reality.[30] Michael Phillips, writing for the Chicago Tribune, was more critical of the first three episodes, calling them "interestingly bad" and criticizing the use of sitcom tropes such as "canned and deadly" laugh tracks. He also felt that one episode's worth of story was stretched out over the first three.[144] Roxana Hadadi at RogerEbert.com said it was difficult to tell where the series would go from the first three episodes, but she felt Maximoff and Vision were being sidelined in favor of the allusions to past sitcoms and also that there was no "sense of narrative stakes" due to the series taking place within the larger narrative of the MCU.[145] Dominic Patten of Deadline Hollywood was also critical of the series, calling it "tiresome" and "a baby boomer punchline in search of a joke". Patten believed WandaVision was a step backwards for Marvel television series, believing that Marvel's Netflix series and ABC's Agents of S.H.I.E.L.D. were better, and he added the series to his list of times Marvel had "gotten it wrong".[146]

Analysis

After the first three episodes, The Hollywood Reporter's Richard Newby speculated that the series was setting up Mephisto to be the over-arching villain of Phase Four. He pointed out that hexagons are a recurring motif in the series, with "hex" meaning both "six" in Greek and "witchcraft" in German, and how both of those terms were prevalent in the early episodes. Referencing the character's comic book history, Newby theorized that Mephisto could appear as a result of the Infinity Stones' "cycle of use and destruction" in the MCU, which would keep the stones relevant to Phase Four even if Mephisto was not trying to collect them as Thanos did in the Infinity Saga. Newby also felt there had been previous hints towards Mephisto's presence in other related Phase Four projects, such as Loki, the untitled Far From Home sequel, and Doctor Strange in the Multiverse of Madness.[147] Julia Alexander, writing for The Verge, agreed with Newby that the series was seemingly setting up the introduction of Mephisto, thinking he could be "part of the connective tissue" for Phase Four,[148] and took notice of the hexagons recurring throughout, agreeing with Newby's assessment and thinking as well that they could point to the organization A.I.M., among other references in the series to them at that point.[149]

Charles Pulliam-Moore called the series a "quirky character study" for Vision since the series has allowed him to "inhabit his identities as a hero, a goofball, and a loving husband" wrapped in the construct of an American sitcom. Pulliam-Moore was particularly fascinated by Vision becoming a father, given he "toils at a job he doesn't understand, checks when things go bump in the night, and does his best to take care of chores around the house before Wanda can get to them with her magic", all to ensure Wanda stays happy in their charade. He also felt the series was being purposeful with its exploration of romance and intimacy, which he felt was "largely missing" from superhero films.[150]

Speaking to the pacing and content of the first three episodes, William Hughes of The A.V. Club said while the premise of the series, Marvel's take on "a mystery-box show", was "fantastic", it also "sits in direct opposition to the MCU ethos, which can tolerate a mystery for exactly as long as it takes its antsiest audience member to start to squirm. To withhold information—to withhold anything—is counter to what turned these films into a pop culture institution, and that necessity to provide gives WandaVision the sense of a show being pulled in even more directions than its already bifurcated premise might suggest." One of the more distracting elements according to Hughes was the shift in these episodes from the multi-camera sitcom to close up single camera shots, indicating a break in Wanda's reality, and the series' lack of subtlety to its teases, which "often distract from the legitimately wonderful work its leads are doing in their homage to classic comedy styles".[151] Miles Surrey writing for The Ringer disagreed with Hughes, thinking the series understood the expectations of the audience, by not stretching out the mystery elements that much of the audience was probably deducing as seen with the fourth episode. Surrey added that WandaVision "isn't really trying to hide what it's about, but that works to the show's advantage. The series is getting better—and way creepier—the more it draws the curtain... [paving] the way for Marvel to make a concerted effort to dabble with horror; at least by the MCU's standards."[152]

Notes
  1. As depicted in the 2015 film Avengers: Age of Ultron.
  2. As a result of the actions of the Avengers during the events of the 2019 film Avengers: Endgame.

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