Martin Carr reviews the sixth episode of Marvel’s WandaVision…
Channelling the ghost of Frankie Muniz, Wandavision embraces sitcom self-awareness, steady-cam credit sequences and upbeat Americana. In an episode which embraces comic book origins, saccharine soaked family moments are broken up by darker hues. Evan Peters displays a lightness of touch and self-assurance in his portrayal of Pietro, which complements an already excellent ensemble cast. From the outset Halloween horrors abound as Wanda orchestrates, manipulates and stage manages her Westview inhabitants.
Within this suburban vision fourth walls are not only broken but constantly in flux. Reassurance is continually sought by its bit part players, while audiences are relentlessly reminded of the superficial construction. Devoid of their own personalities, powerless to deviate from stage directions and consumed by grief these people are in purgatory. Agnes is pivotal in allowing audiences a taste of Wanda’s psychological intrusion, perpetually trapped by intangible boundaries going round in circles.
Beyond Westview the repercussions of a weaponised attempt begin to backfire. Fingers are pointed, accusations made and steps taken to minimise further trouble. Jimmy Woo, Monica Rambeau and Darcy Lewis are proving quite the handful. What this plucky trio bring to the table beyond their cinematic universe connection is a neutral perspective. Chemistry is at the forefront of why they work so well, allowing audiences a relatable way in to this mayhem.
Within the anomaly Wanda is seeking solace by embodying her grief through resurrection. Westview may well be the most abstract form of character catharsis ever created, as Wanda purges her emotions through complete domination. Beyond the barrier S.W.O.R.D. are engaged in an intentional game of show and tell, where audiences are told everything but shown nothing. Amongst this clash of personal agendas, psychic mind games and blatant brinksmanship Vision is the voice of reason.
Based on logic, defined by rules and fundamentally altruistic in nature Paul Bettany continues to play Vision perfectly. His character arc represents the biggest gamble in a show which is defined by risk. On paper WandaVision contains so much darkness and so many conflicting agendas, that there seems little room for emotion, let alone pathos. What Paul Bettany has done and continues to do through his performance, is provide this show with both.
More than anyone he is capable of empathising, understanding and potentially putting an end to Wanda’s reign of tyranny. His devotion to others may well be his undoing, but her need for him may yet make all the world a stage and others mere marionettes. At the heart of WandaVision is a Shakespearean tragedy which explores human weakness and does so beneath a shroud of primary colours. Part moral fable and mainstream Marvel expansion plan, it remains the boldest piece of television currently available.
Martin Carr
