But because it’s a dated sitcom, side characters like Geraldine (Teyonah Parris) and the returning neighbor, Agnes (Kathryn Hahn), inhabit stock supporting roles that seemingly exist to contrivedly move the story along, adding to the mystery of their own backstories and free will in this reality. But she’s also given more compelling moments that interrupt the sitcom format – like when she notices a red toy helicopter in her front hedge or a radio mysteriously calling her name.īettany gets more of the comedic relief, as his charming wit makes him a natural Dick Van Dyke to her Mary Tyler Moore. Olsen once again turns in an eerily accurate performance, meticulously evoking the ’60s TV heroines of whitewashed middle suburbia. But things go awry when Vision accidentally swallows a piece of gum, making him the android equivalent of intoxicated and prone to exposing his superhuman powers. The episode follows a more autonomous Wanda, who prepares a magic act with her husband to gain neighborly favor at the town’s talent show. After Vision saves his boss, the episode ends as if nothing bad happened, but the camera pulls back to reveal that their story is being watched on a vintage television somewhere by someone, providing an intriguing framing device.Įpisode two naturally inches ahead in terms of historical homage – arriving in the “Bewitched” era of the 1960s – but also with more unsettling, glitch-in-the-matrix moments. ![]() The disorienting sequence is enhanced by an overt shift from the predominant multicamera sitcom setup to cinematic close-ups. Hart suddenly begins to choke after interrogating the couple’s dubious backstory, and his wife repeatedly exclaims, “Stop it!” to the point of eerie monotony. For example, when Wanda teases her husband for his indestructible head, fans will also recognize a double entendre that darkly references his unfortunate demise in “Avengers: Infinity War.”īut the apparent facade begins to unravel at dinner when Mr. As such, the sharp dialogue actually manages to get some unironic laughs, paying tribute to the era’s comedic timing while alluding to Wanda’s and Vision’s cinematic backstories – a clever duality that also carries over into episode two. The blatant use of jump cuts and chintzy props on strings – conveying Wanda’s conjuration and telekinetic abilities, respectively – smartly play into the dated special effects of the time as well.ĭespite the self-aware meta humor, the episode lovingly commits to telling an insular story within the sitcom format. Olsen, whose acting chops have been somewhat underutilized in the MCU films, shines with a vocal affectation that wittily embodies the overenunciated acting of the period. To Wanda’s chagrin, the mix-up forces her to cook up a meal for their houseguests on short notice – all while trying to hide her powers. In true sitcom fashion, the episode follows the daily ironies of the sorceress-Synthezoid newlyweds, as Vision mistakes hearts on their calendar – the couple’s anniversary day – for a scheduled dinner with his boss, Mr. ![]() Nearly every visual detail – from the set design to the 4:3 aspect ratio – uncannily captures the aesthetic of 1950s American sitcoms like “I Love Lucy.” Even a commercial break for a fictional Stark Industries toaster bisects the 30-minute runtime, adding another layer of immersion. While the setting is no surprise given the trailer footage, the episode remains surprisingly devoted to the television of the era throughout. But in episode one of “WandaVision,” the star-crossed couple are happily married in the 1950s, living out an idyllic life that fully embraces the era’s cult of domesticity. The magically enhanced Wanda Maximoff (Elizabeth Olsen) was last seen grieving over the sacrifice of Vision (Paul Bettany) – her unlikely android partner – in the year 2023. The first two episodes dive into the show’s bizarre premise with basically zero context, establishing a good deal of mystery from the get-go. Released Friday through Disney+, the first Marvel series on the platform is already benefiting from the creative liberties of long-form storytelling. ![]() While generally consistent in quality, the Marvel formula has seldom forayed into deeper levels of genre experimentation – “WandaVision” transfigures this status quo in delightfully mind-bending ways. ![]() It’s been more than a year since Tony Stark snapped Thanos out of existence, leaving the rubble of the Marvel Cinematic Universe ripe for a creative restructuring. Supervillains and blue sky beams take a backseat to laugh tracks and cartoon jingles in “WandaVision.”
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