Image: Mike Machlan, Bill Oakley, Bob Sharen/Marvel
WandaVision’s creative team
to draw from while conceiving the story for Disney+. Because there’s been relatively little of the Scarlet Witch or Vision in the Marvel Cinematic Universe, one of the biggest questions heading into the streaming series was which chunks of the characters’ comics canon it
might incorporate, and how the show would go about it.
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Everything about the way
WandaVision’s premise was advertised from its jumps through multiple decades of American sitcoms to the not-s0-subtle hints about Wanda Maximoff’s mental state made it easy to see shades of stories like Brian Michael Bendis’
The Scarlet Witch storming away from her fellow Avengers. (Image: Mike Machlan, Bill Oakley, Bob Sharen/Marvel)
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WandaVision’s creative team
to draw from while conceiving the story for Disney+. Because there’s been relatively little of the Scarlet Witch or Vision in the Marvel Cinematic Universe, one of the biggest questions heading into the streaming series was which chunks of the characters’ comics canon it
The first three episodes of
WandaVision relied very heavily on an overarching mystery angle. There were hints and nods that there was something much greater happening, but nothing substantial was given away in those first three episodes. Every time there was something that could explain the mystery, it was rewound or censored. The fourth episode, titled “We Interrupt This Program,” forgoes this by diving into everything that’s been going on behind the sitcom facade.
Instead of paying homage to shows of the past, this week’s episode tells us how Teyonah Parris’ character, Monica Rambeau (aka Geraldine), ended up in Wanda’s life and why she was catapulted out of it. Starting with Monica re-materializing during the Blip, she finds her way back to a S.H.I.E.L.D.-like organization, called S.W.O.R.D., where she reconnects with her old colleagues after a five-year absence.