I know. But Wanda is still connected to the Brotherhood in the comics. And yes Ralph and all that.
WandaVision | Official Thread | Marvel / Disney+
- Thread starter D'Evils
- Start date
Put on your snow goggles mr punchable face and let wolverine outshine you and fuck your girl.. that’s your job glow eyes.. every now and again we need you to shoot your shit from your eyes to remind people why you part of the team.. robin looking at you like more people care about me in dc movies/shows than you goggle eyesFor people who hate Cyclops try having the X-men without Cyclops. Sure everybody likes the rebel. But rebels can't lead you nowhere but to where the fucking bar is. Cyclops is the X-men's Reed Richards and the Avengers Captain America. Not only has he led the X-men but he's led the mutant race. And should Jean Grey decide to leave I don't think he'd be solo for too long.
Why do you love MCU so much?
Know this guy?
That's Senator Stern from Iron Man 2, trying to get Tony Stark to hand over his Iron Man suits and designs for the United States government to use.
And know this guy?
The guy who's not bald and who's wearing the expensive glasses and whose tie was not threatened to become purple? That's also Senator Stern.
This was absolutely something I wasn't looking for. Senator Stern was part of Hydra, and he wanted Tony Stark to hand over his Iron Man suits to them… because he wanted to help take over the world.
Nicely done, Disney. You've got me here. There are always backstories you could have completely ignored, and then gone back and watched the movies in order, and suddenly some things click together like jigsaw puzzles.
Know this guy?
That's Senator Stern from Iron Man 2, trying to get Tony Stark to hand over his Iron Man suits and designs for the United States government to use.
And know this guy?
The guy who's not bald and who's wearing the expensive glasses and whose tie was not threatened to become purple? That's also Senator Stern.
This was absolutely something I wasn't looking for. Senator Stern was part of Hydra, and he wanted Tony Stark to hand over his Iron Man suits to them… because he wanted to help take over the world.
Nicely done, Disney. You've got me here. There are always backstories you could have completely ignored, and then gone back and watched the movies in order, and suddenly some things click together like jigsaw puzzles.
'WandaVision' director on the 'emotional' finale (and the cut scene with Señor Scratchy)
'WandaVision' director Matt Shakman weighs in on Wanda and Vision's ending — and the 'Goonies'-style set piece with Señor Scratchy that didn't make the final cut.
WandaVision director on the 'emotional' finale (and the cut scene with Señor Scratchy)
Matt Shakman weighs in on Wanda and Vision's ending — and the "Goonies-style set piece" that didn't make the final cut.
By Devan Coggan
March 10, 2021 at 06:13 PM EST
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Warning: This article contains spoilers for WandaVision episode 9, "The Series Finale."
Going into the WandaVision finale, there were many questions fans were hoping to get answers to: What was the story behind Evan Peters' appearance as Pietro Maximoff? Was it really Agatha all along? And were we ever going to see Fred Melamed's Mr. Hart again?
The final episode, released March 5, answered (almost!) all those questions — while also raising a few new ones. So EW spoke to WandaVision director Matt Shakman to get some answers. Here, the director opens up about everything that went into Wanda and Vision's emotional ending — and whether that goodbye is really a goodbye.
ENTERTAINMENT WEEKLY: You've talked before about the challenges of filming in the sitcom world, but the finale goes more into the blockbuster Marvel territory. What was it like to go from filming in front of a live studio audience to filming two Paul Bettanys battling it out in the air?
MATT SHAKMAN: Well, to quote Paul, it was fireworks, as he said when he talked about working with "the actor that he always wanted to work with": himself. [Laughs] I laughed so hard when I read that interview.
But it was great! The fun thing about this show is that no day is the same, so you would have one day in front of a live studio audience doing a '50s sitcom, and then you'd be outside at night in a forest doing witches trying to kill Agatha Harkness, and then you'd be at a greenscreen, shooting Visions talking to each other and battling in the sky. It was a huge challenge to try to pivot, and hats off to the entire crew that made the show. They were so flexible at jumping with me from one world to the next, and so much of that is preparation. You have to prepare everything: Certainly a live studio audience takes as much preparation in a way as a Vision battle in the sky, but it's storyboarding and pre-vis and getting everyone together to look at what you're trying to create. You're slowly peeling the onion back to say, okay, this is how we're going to accomplish that. Everything takes time. Putting actors on wires takes a lot of time and a lot of energy, and hats off also to Paul Bettany and Lizzie [Olsen] and Kathryn [Hahn], who are so good at being flown up in the air on wires and handling it like pros.
What was the most memorable scene you shot for the finale?
The most memorable, of course, is the goodbye scene between Wanda and Vision. It's where the show has been leading the entire time. It's the inevitable acceptance of Vision's loss, saying goodbye to him for the last time. It's a beautiful scene: It's beautifully written, it's beautifully acted, and we had a wonderful time shooting it. It's also a complicated one because we go back through the decades, and we travel around them as he slowly dissolves, and then we're left in that empty lot where she was going to build her future with Vision. So that for me is the emotional highlight. It's a beautiful scene, and this was always a story about grief and how this amazing character was going to try to come to terms with the loss that she's felt and the trauma she's experienced.
Last time we talked, you said you hoped that the finale felt inevitable and that it matched with the story you were telling throughout the season. Did you ever consider any other ways for the story to end, or did it always end with this goodbye?
I think it was pretty clear from the beginning that that's where it needed to go. It was loosely structured on Elisabeth Kübler-Ross' stages of grief: denial, anger, bargaining, acceptance, all of that. We knew we were heading toward acceptance, so whatever that meant — acceptance of the fact that she cannot keep this fantasy that she's created, acceptance that she must say goodbye to Vision, something that she has tried with all of her might not to do up to that point, and acceptance of who she is now in this world, and that there is a different destiny out there for her. Acceptance of this new role as the Scarlet Witch and what that means and where she's going with that power. So that's why I said I thought it would feel inevitable to people who were watching it, because we were always telling the same story, which is a relatively simple story. It does have some surprises along the way, but for all of the wonderful theories that were out there and all of the surprise villains who might have showed up, the one villain we always knew we had was grief. That was the big bad of the show. There were other villains — Agatha, White Vision, Hayward, and all sorts of people who are up to no good — but it was a relatively simple story. I think the best ones are.
Did filming during the pandemic affect the story at all?
A little bit. It made it more challenging, for sure. I think if we would've tried to start this project in a pandemic, it would've been very different, but thankfully we had all bonded as a cast. There was a great degree of love and respect for everyone and trust, so it was easier to pick up and continue than it would've been to start anew. We had also shot bits and pieces of every episode, so we had established styles, like what was acting in the '50s and '60s and '70s like? So when we came back to it during the pandemic, we had done a lot of that groundwork.
Comedy's tough, and when you have a director and crew around you all covered in masks and face shields, it's a different environment. Part of creating the proper environment for comedy is laughter and lightness, and when you're in the middle of a pandemic, that's hard. But it's a testament to our actors, how brilliant they are, and they didn't miss a step. I loved everything that we did in L.A. just as much as I loved what we had been doing before the world changed.
The end-credits scenes tease Teyonah Parris' appearance in Captain Marvel 2 and Elizabeth Olsen's appearance in Doctor Strange in the Multiverse of Madness. How closely did you work with those creative teams to make sure those stories line up?
Very closely. Captain Marvel 2 is being produced by Mary Livanos, who produced WandaVision, so you can't get any closer there. It's direct continuity. It's written by Megan McDonnell, who was one of the writers on WandaVision — again, huge continuity. And Teyonah will be going off to star in it. And it's the same with Doctor Strange. Michael Waldron, who is the writer of it who also created Loki, was somebody we were talking to quite frequently. We talked to [director] Sam Raimi. There's a lot of conversation there, as you get ready to pass the baton and hand off these wonderful characters, and that's part of what I think makes the Marvel universe work so well is that communication between projects.
You guys also had the luxury — and maybe anxiety — of going first. You have to set everything in motion for everything that's coming down the line.
We didn't really feel too much anxiety about that because [Marvel Studios chief] Kevin Feige takes that on and spares us all that anxiety. He's spinning all the plates and making it all work, and he's great at making you feel like this story is the only important story right now. I know he makes every other filmmaking team feel the same way with what they're doing, which is one of his superpowers. He has many. But being totally focused and present for what we were creating was wonderful, and whatever we needed to know about how it would function or how it would set [things] up, he was sort of the keeper of that, more than what we had to do. Our obligation was to tell the best story we could tell about Wanda and Vision.
Is there any world in which you would be interested in returning for a season 2?
Who knows! It's the Marvel universe, so who knows what's to come. We did set out to tell a satisfying and complete story, and I think we hopefully did that. So who knows what the future will bring.
Kathryn Hahn in 'WandaVision'
| CREDIT: MARVEL STUDIOS
Were there any scenes you shot or anything you left on the cutting room floor? I read that there was something in the finale about Agatha's rabbit, Señor Scratchy.
Yeah, there's always little things that get cut. That was a longer scene that we ended up losing. We shot it, but it was pretty early on that we had to pivot away from it. Finales are tough because you have all these different pieces on the chessboard, and those stories are happening concurrently. What's happening in the town square with Agatha and Wanda is at the same time as Visions in the sky, and how do you move everybody to the inevitable merge point without feeling like you're losing focus? Ultimately the story is Wanda and Vision's story, and we didn't want to derail that. But there was a very fun, Goonies-style set piece involving Señor Scratchy, who was Agatha's familiar, turning into a sort of demon bunny and chasing the kiddos, Monica, and Ralph around the bewitched basement.
Are there any Easter eggs or references that you really love that people may have not necessarily caught yet?
There are a lot of eagle-eyed fans out there! It's hard to say. I haven't thoroughly combed through the internet enough to say, but I think probably everything has been discussed and observed.
We did go to great lengths to iterate everything through time, so that as [Wanda] moved from the '50s to the '60s, it's the same house, but it's now in the '60s. But everything's in the same place: the TV, the couch, the fireplace, the front door, the staircase. We did the same thing with all the props. The magazine that Agatha is reading in the first episode is Glamorous magazine, and that magazine is repeated in every single era with the same model on the cover, just in era-appropriate clothing. The design of the magazine and all the ads reflect that era. The newspaper, the Westview Gazette, goes throughout time as well, and everything is just about Westview. We don't see any franchise stores; you don't see any news or information about the world outside. There is no world outside. If you're in Westview, that's it.
WandaVision Team Talks Lack of Justice for Westview: Making Everything OK Was ‘Not the Story We’re Telling’
"WandaVision" head writer Jac Schaeffer and director Matt Shakman discuss the perceived lack of justice for the tortured people of Westview.
tvline.com
WandaVision Team Talks Lack of Justice for Westview: Making Everything OK Was 'Not the Story We're Telling'
Once the dust settled in the WandaVision finale (now streaming on Disney+), yes, Wanda (played by Elizabeth Olsen) had vanquished witchy rival Agatha Harkness (Kathryn Hahn). And yes, she freed the people of Westview, N.J. from the spell that had held them hostage in her idyllic world, in the course of sacrificing the family she had conjured for herself.
But the fact remains that — as revealed earlier by Agatha, and later owned up to by Wanda herself — these people not only had been robbed of their identities but, as one noted, “When you let us sleep, we have your nightmares!”
When Wanda walked into town after losing Vision and their sons to the vanished Hex, Monica Rambeau (Teyonah Parris) tried to alleviate some of the sorceress’ guilt, saying, “They’ll never know what you sacrificed for them.” But Wanda knew that was far from true, saying, “It wouldn’t change how they see me.”
Some viewers, though, felt that that exchange was a bit too pat. That though Wanda is owning her role in Westview’s torture, it doesn’t at all change that it happened.
So, was there ever “more” to that final scene, an attempt to do better by the people of Westview?
“There’s so much conversation about taking Westview hostage in the finale as it is,” WandaVision director Matt Shakman notes. In that mid-episode scene, “We have Agatha really bringing it to Wanda, saying, ‘Are you a hero or are you a villain? Heroes don’t torture people.’ That’s a huge moment in the finale, when Wanda has to wrestle with that.”
Speaking to the scene following the Hex’s collapse, head writer Jac Schaeffer tells TVLine, “I think Wanda’s walk of shame back into the town is really powerful, and it was written as such on the page. It was meant to be like an assault of death glares from people, and we were meant to feel how angry they all are.
“I remember a note from [Marvel Studios chief] Kevin [Feige] being like, ‘More, more, let’s feel that for her, let’s understand that what she did was terrible,'” Schaeffer adds.
To those who wished a happier ending for Westview, “No, that’s not the story we’re telling, that now [Wanda] has to make everything OK,” Schaeffer says. “It wasn’t about landing her in a way where it’s like, ‘Everything’s wrapped up and squeaky clean, and she’s a hero and has done no wrong!’ She’s done a lot of wrong. And there will probably be reckonings down the line. No, I like how that’s in the gray area of misdeeds that she’s been involved in.”
As director of the Wanda/Monica scene at the end, Shakman says “there were many versions of that, for sure, but nothing that was much longer.” He then echoes Schaeffer’s reverence for the complicated moment, saying, “I think it’s a beautiful scene. We’re not trying to let Wanda off the hook at all. The daggers that she’s getting from every townsperson as she walks through town should clearly show that she’s not being forgiven, and she won’t be forgiven, by them. She understands that.”
Have those residents of Westview been left to rue Wanda and be haunted by their time in spell-driven servitude? And what is to come of Agatha, who was returned by Wanda to her “Agnes” persona? Will Sarah, Sharon et al forever be giving their nosy neighbor the stink eye?
“I can’t really speak to [the residents], because it’s beyond the scope of the show, which is my department,” Schaeffer defers. “But with regard to Agatha, it’s what Wanda says: You’re going to live here, she does a mind control spell on Agatha, and then says, No one will bother you. In my mind, that means Agatha lives, or will live, in some kind of bubble. No one’s going to question her or have a hard time with her. Wanda has stashed her there, and also defanged her, essentially.”
this all day.
i really tried to get into it. i gave up a couple of episodes into the second season.
and i never could get into agents of shield.
Netflix, Clock and Dagger and Runaways, Hellstorm, Fox's X-Men and even the awful Inhumans will just be part of the Multiverse... Simple explanation...
But I disagree about Agents of Shield...
The writers left plenty of holes and plot details from the show that it always fits into the MCU....
The only obvious connection AOS had to WandaVison was the Darkhold....
Ghost Rider (Robbie) was last seen with it on AOS...
The MCU can always fill in the blanks to how Agatha got the Darkhold...
But a hit TV show is not a “know it when you see it” kinda thing. WandaVision wasn’t a success just because it felt like it was everywhere. While streaming services don’t release clear data about viewership, we can always look at Google Trends to measure just how big of an impact a show is having on audiences. That’s where it becomes clear that WandaVision cast a spell on all of us.
The other big shows of 2021—Netflix’s Bridgerton, Cobra Kai, and Firefly Lane as well as ABC’s The Bachelor—could not come close to matching WandaVision’s search traffic.
Week after week, WandaVision generated way more interest than every other show, no doubt because of WV’s mysterious side leading to rampant fan theories. Also to anyone still wondering why streaming services want to do weekly releases instead of all-at-once—just look at this chart. Netflix’s Cobra Kai had a slightly bigger peak than WandaVision, but it couldn’t hold attention for longer than a week.
WandaVision continued to perform week after week, all the way through to the finale. What’s more appealing to a streaming service: having to turn out a season of a buzzy new hit show every single week, or spreading that buzz from one show across two whole months?
https://decider.com/2021/03/08/was-marvel-wandavision-ratings-hit-disney-plus/
Last edited:
where the dudes who were at-ing me that the show was trash
and
not gonna be a success after 2 episodes?
'WandaVision' is so popular it caused Disney+ to crash in the middle of the night
Disney+ experienced a brief outage early Friday morning when the service premiered the latest episode of Marvel's "WandaVision."
I CAN'T HEAR YOU...
where the dudes who were at-ing me that the show was trash
and
not gonna be a success after 2 episodes?
'WandaVision' is so popular it caused Disney+ to crash in the middle of the night
Disney+ experienced a brief outage early Friday morning when the service premiered the latest episode of Marvel's "WandaVision."www.cnbc.com
I CAN'T HEAR YOU...
show was wack bro
waiting on falcon
‘WandaVision’ on Disney+: How Successful Was Marvel Studios’ First TV Series?
By Brett White @brettwhite Mar 8, 2021 at 10:26am
'
Was WandaVision successful? Yes! Clearly, obviously, duh. Cool—we done here? No? I actually have to… explain this? It’s “my job”? Ah—thanks for the reminder. Mediocre intro bit aside, the question post-finale isn’t so much “Was WandaVision successful?” and more “Why did we think WandaVision might fail?” with a dash of “What does this mean for Marvel Studios television moving forward?”
To start, let’s talk about the success and why it’s so obvious. To be awake and aware in 2021 means that you know that there is a Marvel Studios TV show on a streaming service, and it looks kooky. The show has been talked about everywhere, from The Tonight Show with Jimmy Fallon doing a full-blown tribute to WandaVision (with 1.3 million views on YouTube) to the hosts of The View dialing back their inter-host animosity to praise Kathryn Hahn. Every week gave social media another round of moments to meme and GIF, particularly Episode 7’s surprise smash hit “Agatha All Along.” No, seriously—that Munsters/Addams Family-inspired faux theme song charted on iTunes and Billboard on top of inspiring a ludicrous amount of mashups and remixes.
But a hit TV show is not a “know it when you see it” kinda thing. WandaVision wasn’t a success just because it felt like it was everywhere. While streaming services don’t release clear data about viewership, we can always look at Google Trends to measure just how big of an impact a show is having on audiences. That’s where it becomes clear that WandaVision cast a spell on all of us.
Photo: Google
The other big shows of 2021—Netflix’s Bridgerton, Cobra Kai, and Firefly Lane as well as ABC’s The Bachelor—could not come close to matching WandaVision’s search traffic. Week after week, WandaVision generated way more interest than every other show, no doubt because of WV’s mysterious side leading to rampant fan theories. Also to anyone still wondering why streaming services want to do weekly releases instead of all-at-once—just look at this chart. Netflix’s Cobra Kai had a slightly bigger peak than WandaVision, but it couldn’t hold attention for longer than a week. WandaVision continued to perform week after week, all the way through to the finale. What’s more appealing to a streaming service: having to turn out a season of a buzzy new hit show every single week, or spreading that buzz from one show across two whole months?
Photo: Disney+
So, since WandaVision was so clearly a hit with critics and audiences, why in the world are we surprised? We’re surprised because WandaVision was our very first experience with a TV show created by Marvel Studios—and it wasn’t meant to be. The Falcon and the Winter Soldier, a more straightforward superhero show that looks very much in line with the Captain America movies, was supposed to come out first—and then COVID-19 shut down production. Even before that, earthquakes in Puerto Rico delayed F&WS‘ production in January 2020. This allowed WandaVision, originally Marvel Studios’ second show, to get far enough ahead that it made sense to release it first. And WandaVision, as we’ve all just experienced, is a weird show. So not only did we not know what television created by a movie studio would look like, we also had no idea how a sitcom starring characters with even less screentime than Sam Wilson and Bucky Barnes would work. There was a lot of reason to be worried.
The risks paid off. We saw that Marvel Studios was indeed capable of bringing movie-level special effects to Disney+, evidenced by the epic slugfest between Vision and his ghostly mirror image as well as Agatha and Wanda’s magical duel. More surprisingly, we also saw that Marvel Studios somehow grasped the structure of television better than Marvel Television ever did. With its hit-or-miss Netflix shows, Marvel Television made 13-hour movies. And with WandaVision, Marvel Studios made 9 TV episodes, intended to be released weekly and crafted with enough content to justify a week’s worth of conversation. Of course, WandaVision dropped after a year-and-a-half wait for any new MCU content, and the show’s central themes (grief, depression, family, etc.) are painfully relevant to right now. WandaVision was the show of the moment.
Photo: Disney+
Now, what does this mean for Marvel Studios moving forward, in regards to its Disney+ shows? I actually think the overwhelming, surprise success of WandaVision makes the comparatively low-key Falcon and Winter Soldier seem like a bit of a risk! Talk about flipping the script. But it’s true! WandaVision was an experience unlike any we’ve seen in the MCU before (maybe Thor: Ragnarok comes closest). We went into every episode having precisely zero clue where it would take us. The Falcon and the Winter Soldier looks like a Marvel movie—and that’s great! I cannot wait for it! But the real test will be whether or not a show that looks so in line with what we expect from Marvel Studios will be able to pull out the same level of WTF meme-able moments that propelled WandaVision into the zeitgeist.
But there is an upside to Falcon and Winter Soldier following WandaVision: we now know that Marvel Studios ain’t playing around. By starting with WandaVision, Marvel Studios firmly established that they will go anywhere and can do anything. Nothing is off limits—no tone, no character, no topic. WandaVision really did it all, and it managed to surprise audiences every single week. Knowing that, it is entirely likely that The Falcon and the Winter Soldier—and subsequently Loki, Hawkeye, and Ms. Marvel—will turn out to be unlike anything teased in the trailers, set photos, and sizzle reels. If WandaVision is any indication, then these new shows can defy expectations of not just what the MCU can look like, but what television can look like. That honestly makes this the most exciting time to be a Marvel Fan in a very, very long time. WandaVision was a bold choice to kick off Marvel Studios’ slate of TV content, but it just may have been the perfect choice.
By Brett White @brettwhite Mar 8, 2021 at 10:26am
'
Was WandaVision successful? Yes! Clearly, obviously, duh. Cool—we done here? No? I actually have to… explain this? It’s “my job”? Ah—thanks for the reminder. Mediocre intro bit aside, the question post-finale isn’t so much “Was WandaVision successful?” and more “Why did we think WandaVision might fail?” with a dash of “What does this mean for Marvel Studios television moving forward?”
To start, let’s talk about the success and why it’s so obvious. To be awake and aware in 2021 means that you know that there is a Marvel Studios TV show on a streaming service, and it looks kooky. The show has been talked about everywhere, from The Tonight Show with Jimmy Fallon doing a full-blown tribute to WandaVision (with 1.3 million views on YouTube) to the hosts of The View dialing back their inter-host animosity to praise Kathryn Hahn. Every week gave social media another round of moments to meme and GIF, particularly Episode 7’s surprise smash hit “Agatha All Along.” No, seriously—that Munsters/Addams Family-inspired faux theme song charted on iTunes and Billboard on top of inspiring a ludicrous amount of mashups and remixes.
But a hit TV show is not a “know it when you see it” kinda thing. WandaVision wasn’t a success just because it felt like it was everywhere. While streaming services don’t release clear data about viewership, we can always look at Google Trends to measure just how big of an impact a show is having on audiences. That’s where it becomes clear that WandaVision cast a spell on all of us.
Photo: Google
The other big shows of 2021—Netflix’s Bridgerton, Cobra Kai, and Firefly Lane as well as ABC’s The Bachelor—could not come close to matching WandaVision’s search traffic. Week after week, WandaVision generated way more interest than every other show, no doubt because of WV’s mysterious side leading to rampant fan theories. Also to anyone still wondering why streaming services want to do weekly releases instead of all-at-once—just look at this chart. Netflix’s Cobra Kai had a slightly bigger peak than WandaVision, but it couldn’t hold attention for longer than a week. WandaVision continued to perform week after week, all the way through to the finale. What’s more appealing to a streaming service: having to turn out a season of a buzzy new hit show every single week, or spreading that buzz from one show across two whole months?
Photo: Disney+
So, since WandaVision was so clearly a hit with critics and audiences, why in the world are we surprised? We’re surprised because WandaVision was our very first experience with a TV show created by Marvel Studios—and it wasn’t meant to be. The Falcon and the Winter Soldier, a more straightforward superhero show that looks very much in line with the Captain America movies, was supposed to come out first—and then COVID-19 shut down production. Even before that, earthquakes in Puerto Rico delayed F&WS‘ production in January 2020. This allowed WandaVision, originally Marvel Studios’ second show, to get far enough ahead that it made sense to release it first. And WandaVision, as we’ve all just experienced, is a weird show. So not only did we not know what television created by a movie studio would look like, we also had no idea how a sitcom starring characters with even less screentime than Sam Wilson and Bucky Barnes would work. There was a lot of reason to be worried.
The risks paid off. We saw that Marvel Studios was indeed capable of bringing movie-level special effects to Disney+, evidenced by the epic slugfest between Vision and his ghostly mirror image as well as Agatha and Wanda’s magical duel. More surprisingly, we also saw that Marvel Studios somehow grasped the structure of television better than Marvel Television ever did. With its hit-or-miss Netflix shows, Marvel Television made 13-hour movies. And with WandaVision, Marvel Studios made 9 TV episodes, intended to be released weekly and crafted with enough content to justify a week’s worth of conversation. Of course, WandaVision dropped after a year-and-a-half wait for any new MCU content, and the show’s central themes (grief, depression, family, etc.) are painfully relevant to right now. WandaVision was the show of the moment.
Photo: Disney+
Now, what does this mean for Marvel Studios moving forward, in regards to its Disney+ shows? I actually think the overwhelming, surprise success of WandaVision makes the comparatively low-key Falcon and Winter Soldier seem like a bit of a risk! Talk about flipping the script. But it’s true! WandaVision was an experience unlike any we’ve seen in the MCU before (maybe Thor: Ragnarok comes closest). We went into every episode having precisely zero clue where it would take us. The Falcon and the Winter Soldier looks like a Marvel movie—and that’s great! I cannot wait for it! But the real test will be whether or not a show that looks so in line with what we expect from Marvel Studios will be able to pull out the same level of WTF meme-able moments that propelled WandaVision into the zeitgeist.
But there is an upside to Falcon and Winter Soldier following WandaVision: we now know that Marvel Studios ain’t playing around. By starting with WandaVision, Marvel Studios firmly established that they will go anywhere and can do anything. Nothing is off limits—no tone, no character, no topic. WandaVision really did it all, and it managed to surprise audiences every single week. Knowing that, it is entirely likely that The Falcon and the Winter Soldier—and subsequently Loki, Hawkeye, and Ms. Marvel—will turn out to be unlike anything teased in the trailers, set photos, and sizzle reels. If WandaVision is any indication, then these new shows can defy expectations of not just what the MCU can look like, but what television can look like. That honestly makes this the most exciting time to be a Marvel Fan in a very, very long time. WandaVision was a bold choice to kick off Marvel Studios’ slate of TV content, but it just may have been the perfect choice.
Don't matter if you THOUGHT it was wack though
I can't argue that with you
you a knowledgeable brother your opinion is valid
but MANY disagree
it WAS a success by EVERY metric
that is ALL I said and BEEN saying from day one.
But a hit TV show is not a “know it when you see it” kinda thing. WandaVision wasn’t a success just because it felt like it was everywhere. While streaming services don’t release clear data about viewership, we can always look at Google Trends to measure just how big of an impact a show is having on audiences. That’s where it becomes clear that WandaVision cast a spell on all of us.
The other big shows of 2021—Netflix’s Bridgerton, Cobra Kai, and Firefly Lane as well as ABC’s The Bachelor—could not come close to matching WandaVision’s search traffic.
Week after week, WandaVision generated way more interest than every other show, no doubt because of WV’s mysterious side leading to rampant fan theories. Also to anyone still wondering why streaming services want to do weekly releases instead of all-at-once—just look at this chart. Netflix’s Cobra Kai had a slightly bigger peak than WandaVision, but it couldn’t hold attention for longer than a week.
WandaVision continued to perform week after week, all the way through to the finale. What’s more appealing to a streaming service: having to turn out a season of a buzzy new hit show every single week, or spreading that buzz from one show across two whole months?
https://decider.com/2021/03/08/was-marvel-wandavision-ratings-hit-disney-plus/
Facts, that proves its success. But i do think its trash. The last 2 seasons of GoT and the walking dead, generate plenty of interest however....
i hear u
souljaboy boy non rappin ass had the biggest hit in the world at one time
respect
you nailed it
but remeber it also had to INCREASE subscribers to PAY too
you GOTTA respect it.
i hear u
souljaboy boy non rappin ass had the biggest hit in the world at one time
now you just trolling
but yup that is true
and spice girls, vanilla ice, KISS too right?
but that don't make YOU WRONG or THEM RIGHT
OR VISA-VERSA
All it means is someone made a SH*T TON of MONEY and we gonna STILL be talking about them a decade from now.
and really that's all that matters keone
this is a BUSINESS.
that is true ahahah the only thing is the money isnt coming into my pocket so i can be objectivenow you just trolling
but yup that is true
and spice girls, vanilla ice, KISS too right?
but that don't make YOU WRONG or THEM RIGHT
OR VISA-VERSA
All it means is someone made a SH*T TON of MONEY and we gonna STILL be talking about them a decade from now.
and really that's all that matters keone
this is a BUSINESS.
and this wasnt it. mean the last ep was cool but to wait 9 eps for that?
obviously its marvel/disney so it will be a guaranteed success
i never doubted that
that is true ahahah the only thing is the money isnt coming into my pocket so i can be objective
and this wasnt it. mean the last ep was cool but to wait 9 eps for that?
obviously its marvel/disney so it will be a guaranteed success
ain't going in my pocket EITHER!!!!!
I WISH
and again just cause we don't agree with YOU (SNOB)
don't mean we ain't being objective
fam, this is a TOUGH game
you can NEVER go in thinking its an automatic win.
Hate or Love it
you cannot say Marvel/Disney doesn't ALWAYS try to go FULL maximum effort from writing casting directing budget and down the line....
they still SET the standard
that aint EASY bro
TRUST.
It is tho. Why? Cause they set a certain standard. U basically have to follow all their movies to follow the storyline. Shut I remember when we had to watch agent of shield.ain't going in my pocket EITHER!!!!!
I WISH
and again just cause we don't agree with YOU (SNOB)
don't mean we ain't being objective
fam, this is a TOUGH game
you can NEVER go in thinking its an automatic win.
Hate or Love it
you cannot say Marvel/Disney doesn't ALWAYS try to go FULL maximum effort from writing casting directing budget and down the line....
they still SET the standard
that aint EASY bro
TRUST.
Ahha I am saying.
Didn't mean that u are not objective
I am saying me.
did you watch all the movies and some of agents of shield?
WandaVision Team Talks Lack of Justice for Westview: Making Everything OK Was ‘Not the Story We’re Telling’
"WandaVision" head writer Jac Schaeffer and director Matt Shakman discuss the perceived lack of justice for the tortured people of Westview.
WandaVision Team Talks Lack of Justice for Westview: Making Everything OK Was 'Not the Story We're Telling'
Once the dust settled in the WandaVision finale (now streaming on Disney+), yes, Wanda (played by Elizabeth Olsen) had vanquished witchy rival Agatha Harkness (Kathryn Hahn). And yes, she freed the people of Westview, N.J. from the spell that had held them hostage in her idyllic world, in the course of sacrificing the family she had conjured for herself.
But the fact remains that — as revealed earlier by Agatha, and later owned up to by Wanda herself — these people not only had been robbed of their identities but, as one noted, “When you let us sleep, we have your nightmares!”
When Wanda walked into town after losing Vision and their sons to the vanished Hex, Monica Rambeau (Teyonah Parris) tried to alleviate some of the sorceress’ guilt, saying, “They’ll never know what you sacrificed for them.” But Wanda knew that was far from true, saying, “It wouldn’t change how they see me.”
Some viewers, though, felt that that exchange was a bit too pat. That though Wanda is owning her role in Westview’s torture, it doesn’t at all change that it happened.
So, was there ever “more” to that final scene, an attempt to do better by the people of Westview?
“There’s so much conversation about taking Westview hostage in the finale as it is,” WandaVision director Matt Shakman notes. In that mid-episode scene, “We have Agatha really bringing it to Wanda, saying, ‘Are you a hero or are you a villain? Heroes don’t torture people.’ That’s a huge moment in the finale, when Wanda has to wrestle with that.”
Speaking to the scene following the Hex’s collapse, head writer Jac Schaeffer tells TVLine, “I think Wanda’s walk of shame back into the town is really powerful, and it was written as such on the page. It was meant to be like an assault of death glares from people, and we were meant to feel how angry they all are.
“I remember a note from [Marvel Studios chief] Kevin [Feige] being like, ‘More, more, let’s feel that for her, let’s understand that what she did was terrible,'” Schaeffer adds.
To those who wished a happier ending for Westview, “No, that’s not the story we’re telling, that now [Wanda] has to make everything OK,” Schaeffer says. “It wasn’t about landing her in a way where it’s like, ‘Everything’s wrapped up and squeaky clean, and she’s a hero and has done no wrong!’ She’s done a lot of wrong. And there will probably be reckonings down the line. No, I like how that’s in the gray area of misdeeds that she’s been involved in.”
As director of the Wanda/Monica scene at the end, Shakman says “there were many versions of that, for sure, but nothing that was much longer.” He then echoes Schaeffer’s reverence for the complicated moment, saying, “I think it’s a beautiful scene. We’re not trying to let Wanda off the hook at all. The daggers that she’s getting from every townsperson as she walks through town should clearly show that she’s not being forgiven, and she won’t be forgiven, by them. She understands that.”
Have those residents of Westview been left to rue Wanda and be haunted by their time in spell-driven servitude? And what is to come of Agatha, who was returned by Wanda to her “Agnes” persona? Will Sarah, Sharon et al forever be giving their nosy neighbor the stink eye?
“I can’t really speak to [the residents], because it’s beyond the scope of the show, which is my department,” Schaeffer defers. “But with regard to Agatha, it’s what Wanda says: You’re going to live here, she does a mind control spell on Agatha, and then says, No one will bother you. In my mind, that means Agatha lives, or will live, in some kind of bubble. No one’s going to question her or have a hard time with her. Wanda has stashed her there, and also defanged her, essentially.”
^^^
interesting
It made no sense that Heyward got arrested but Wanda was let go lmao.
But hey, it aint real life lol. Heroes always get to do crazy shit without consequences.
arrr of it arrr of it
Alright here's the wandavision agatha all along rap
You cats say Wanda should have been arrested.
How would they keep her locked up with her powers?
How would they keep her locked up with her powers?
False
Which part?
There are reprucussions. Tyler Heyward was arrested cause he couldn't fly away. Wanda has a laudry list of powers and abilities
I said consequences not repercussions.
Fam they let her fly away. Not saying they could have stopped her, but they didnt even try to talk her in.
Monica's supposed to be law enforcement and she made Wanda out to be a victim and a saint.
They tried that the entire show. No shade but is the last episode the only 1 you watched? Eveey episode past 2 they was either trying to talk or force her into facing justice.
So now this bitch is studying the Darkhold and on the verge of releasing an elder god in the form of Cthon.
