Yes, I avoided talking about this till it was complete. Why? Because it was so clearly going to be a complex arc that wouldn’t likely be fully realized till the end. I’m glad I waited…and enjoyed the ride.
Like many complex tales, there are two experiences: the initial watch and the rewatch/looking-back review. The one thing that is utterly clear is that this massively risky experiment wouldn’t have worked without the incredible acting chops of Elizabeth Olsen (Ingrid Goes West). Her ability to morph through the various styles required, and her depth of emotional landscape sold an otherwise near-experimental theatre presentation. And in support around her through it all were Kathryn Hahn (Spider-Man: Into the Spider-Verse) and Paul Bettany (Uncle Frank) who balance and feed the confusion. It’s no Watchmen, but it is a heck of an out-there show.
And, yes, there are others, but most are surprises so I won’t enumerate. But Josh Stamberg (Pacific Rim: Uprising) is notable for a truly flawed performance. He was clearly directed by Matt Shakman to chew the furniture and he did so with relish, to the detriment of the series. Mind you, so does Hahn before it’s all over, which is a shame, but she has a wider ranging presentation. However, at least Teyonah Parris (If Beale Street Could Talk) manages to pull off a rather unexpected arc without crossing those lines.
The shape of this series is everything. It begins with a 30 minute format and expands, as the story structure allows, till we get to an hour-long finale. But the first three episodes are slightly self-indulgent setups. Entertaining as heck, but stretched out a bit too long. There is a purpose and a reason for it all (thankfully) but it goes on too long. Shankman should have reined it in a little more. Similarly, the penultimate episode gets old quickly as, by that time, it’s simply revealing information we mostly know but the characters have yet to admit/understand. It could have been done better.
But the finale, which manages in true Marvel/MCU fashion to pull all the threads together, is a nice pay-off. And I say that even though it also, in true MCU fashion, has lots of open threads hinted at in the two codas.
Overall, this is a heck of an achievement. Flawed, and slightly misdirected at times, but not something most of us expected. And it resolves some of the original complaints about Wanda’s Age of Ultron introduction and story. Of course, if you don’t know about Wanda and Vision, you’ll frankly miss 80% of the story. So if you somehow missed the movies, go back to Age of Ultron and watch from there (or at least watch the Legends series to learn enough about the background).
My biggest concern with the story is how well it will stand the test of time and rewatching. Once you know the secrets and rewatch it once, is there enough there? As a stand-alone series, I suspect not. It is built as a vehicle to launch several new paths in the MCU (at least two movies link up with the ending). It isn’t a stand-alone gem of a story, it is an episode in the charcters’ existence, a bridge to what comes next. Very comic book. But is that what we ultimately want to tune in for? Dark Tower had originally planned a movie and TV pathway, because of the scope of the story, all tying together as a whole. Then they panicked and gave us a single, awful movie. So, perhaps, WandaVision is a new type of show and I’m being a little unfair to its purpose. Time will tell when we see if Disney can pay it all off in the year or so to come. Certainly, I give them credit for the ballsy and expensive attempt. Let’s see what they can do with it…