‘Scarlet Witch and Vision’ has fully entered the 2000s, knocking down the fourth wall along the way. If in the previous chapters the Disney + series directly referenced classics such as ‘Bewitched’, ‘The Brady Tribe’ or ‘Malcolm in the Middle’, at the turn of the century it was inevitable to borrow the style of ‘The Office’. The cult fiction, originally created by Ricky Gervais and later adapted in the United States, laid the foundations for the mockumentary format in the sitcom arena, being the precursor to other hits such as ‘Modern Family’.
Wanda reflects on the camera
Precisely between Dunder Mifflin and the Dunphy house transits the seventh and penultimate episode of ‘Scarlet Witch and Vision’. After blasting against law enforcement agencies outside Westview, Wanda has definitely lost control of her alternate reality, Vision’s confidence and, in short, the purpose that seemed to articulate this entire fantasy. The Scarlet Witch herself makes this clear at the beginning of the chapter in a nihilistic conversation with her children, after which she begins to intuit that there may be a demiurge even more powerful than her.
The origin of a new heroine
Outside of Westview, Monica Rambeau and Jimmy Woo meet with trusted companions, aware that Hayward’s true motivation is not to save the hostages, but to get Vision back and its incomparable military potential. Meanwhile, Darcy, who was absorbed by the expansion of the interdimensional barrier, crosses her path with that of Vision, who awakens her from her slumber to get answers about the reality of her marriage to Wanda. The two make up a fascinating comic couple, who stay away from the true conflict of an episode that quickly drops two megatons.
A new Monica comes to Westview
The first to impact is related to Rambeau, who, in his endeavor to cross the dense barrier, acquires superhuman abilities. At the moment, it is not clear what powers he has achieved, but they must not be weak at all, since they have served to appease a fit of anger from Wanda. When the confrontation between the two takes place, Monica constantly tries to empathize with the character of Elizabeth Olsen, whose gaze increasingly reveals a greater degree of understanding. Nevertheless, Before this communion is full, the person responsible for the second trigger appears: Agnes.
The real showrunner
When it seemed that the clash between Olsen and Teyonah Parris could be the climax of the episode, Wanda’s descent into darkness has literally occurred. Realizing the absence of her children, the matriarch has gone down to the basement and, after going through a most gloomy passage, has come across Agnes, who, as had been rumored, is really Agatha Harkness. In the comics, Harkness is a powerful witch and a kind of mentor for Wanda, who has a major impact on the plot that is being adapted in ‘Scarlet Witch and Vision’.
Agnes was hiding her own script twist
This twist is accompanied by a visual style change, as Harkness takes ultimate control of the sitcom. In that process, the interventions of the witch are shown at different moments of the series, as in the appearance of Pietro. She has been the true puppeteer, although for now it is not clear to what extent Wanda is acquitted or if she shares responsibility with Agatha, or if the latter is under the yoke of some other villain, such as Mephisto. Those are the unknowns that the last two episodes will have to solve … Before heading into another week of waiting, the series has offered its first post-credits scene, in which Pietro catches Monica trying to break into the basement. In this way, and while waiting for Vision to join the party, all the pieces come together in Wanda’s home, whose idyllic illusion has already been completely dismembered.