It cannot be said that the films of the Marvel Cinematic Universe are usually the height of narrative innovation. They play it safe. They are elaborately elaborated, but never with notable risks. And we can enjoy them without problems, of course. They are great shows about superheroes from the sea of entertaining comics, and whose formula has not been played in any of its twenty-three installments released to this day. But the proposal of WandaVision (Jac Schaeffer, 2021), the first Disney Plus miniseries to broaden the cosmos marvelita, is quite picturesque.
If you accept the initial sitcom format and drift away humorously, there is no reason not to enjoy WandaVision
If one reflects on this, it can be said that predicting that they would choose the American filmmaker for a project of the magnitude of WandaVision did not seem absurd. But only after having participated in the scripts of Captain Marvel (Anna Boden and Ryan Fleck, 2019), no accreditation, and Black Widow (Cate Shortland, 2021). Because, if it depended on its previous trajectory, it would be a difficult omen. To begin with, the failed romantic fantasy of the feature film TiMER (2009), despite its candidacy at the prestigious Cannes International Film Festival, is not the best business card.
Not the shorts Mr. Stache (2011) and Frozen: An Olaf Adventure (Kevin Deters and Stevie Wermers, 2017), although the latter already involves a contact with Disney. Nor, finally, the libretto of Compulsive Scammers (Chris Addison, 2019), which he wrote with Stanley Shapiro, Paul Henning and Dale Launer. But somehow Jac Schaeffer managed to stick his nose into the Marvel Universe. And here we are now, with the analysis of the strangest delivery of the same. Because this television series cannot be described in any other way than mix the sitcom format with the superheroic plot we know.
Paul Bettany sports a super comical vis that the normally impassive Vision would not allow, and Elizabeth Olsen is charming as Scarlet Witch
From the first episode of the three that we have been able to eat so far, they make it very clear that WandaVision the aforementioned format is taken very seriously. To the point that, at least in the beginning, it is a situation comedy with all the laws. And he is transforming his style according to the decades that pass on television, with Bewitched (Sol Saks, 1964-1972) on the horizon. This choice of referent is overwhelmingly logical if we consider the nature of Scarlet Witch (Elizabeth Olsen), above all, and Vision (Paul Bettany).
If you accept the format and drift away humorously, there is no reason not to enjoy WandaVision. The jokes, in any case, they pivot between naivety that we understand that it adjusts to the time of its television models and the occasional cooler laugh. And it should be noted, ladies and gentlemen, that Paul Bettany (The Da Vinci Code) sports a stupendous comic vis that the normally impassive and inhuman Vision would not allow. Elizabeth Olsen (Love and Letters), for her part, is charming. The same as Kathryn Hahn (Girls) and Teyonah Parris (Mad Men) as Agnes and Geraldine.
Perhaps less sitcom and more to the point would favor WandaVision, and we hope that they will approach it that way in the other six episodes.
There are no impediments to appreciate the realization, quite competent. And it is in very specific moments, like flashes of sudden understanding, that the past and the enigmatic reality of our superheroes creep in. In addition to scenes that direct the focus to the surroundings of the situation in order to provide us with clues about what is happening. This, how could it be otherwise, feed our curiosity to continue watching WandaVision. However, one can recognize that perhaps less sitcom and more to the point would favor it. And hopefully Jac Schaeffer will approach it that way in the other six chapters.
The article Criticism of ‘WandaVision’: the most unusual of the Marvel Cinematic Universe to date was published in Hypertext.