For more on the imaginative world of Marvel's Davison, be sure to read our guide to Wanda and Vision in the comics, as well as our detailed breakdown of the Wanda and Vision's MCU timeline so far. David Griffin still watches Ducktails in his pajamas with a cereal bowl in hand.
Disney+’s other live-action Marvel series in the pipeline include (but are by no means limited to) Falcon and the Winter Soldier (premiering March 19) and Loki (which is penciled in for May). Once the series begins to break away from that creative construct, as the close of Episode 3 most strongly suggests, running times “start to vary more, yes,” Face assures Line.
Included in the exciting new show lineup is the highly anticipated WandaVision from Marvel Studios. The show will follow Wanda Maxim off (superhero alias Scarlet Witch) and her part-robot, part-humanoid husband Vision, living out their white picket fence fantasies...sort of.
Eagle-eyed fans who have been counting down the minutes until the show airs might be wondering when exactly they can start to binge. The basis for this schedule is the second season of The Mandalorian, where episodes were released weekly at 12:01 a.m. PST every Friday without fail.
It looks like Disney and Marvel are not letting fans spend a week without new content through the spring, which is definitely appreciated. Not to mention, with the continuous thread of Marvel films that will be connected with the shows as a part of their legendary “Phase 4,” there's a possibility that WandaVision could get its own behind-the-scenes treatment, just like The Mandalorian is getting.
As for what WandaVision holds in store, the plot has been heavily rumored, but in true Marvel fashion, their lips have been pretty sealed. Some spotted a visual Easter egg in the initial online marketing for the show that suggests as much.
Whether you're staying up to count down the minutes or sleeping in and catching it the next morning, there's sure to be heavy speculation and surprises all day when the show premieres. Elizabeth Olsen and Paul Bethany reprise their respective roles as Wanda Maxim off and Vision from the film series, while Debra Jo Rump, Fred Me lamed, Kathryn Hahn, Hannah Paris, Randall Park, and Kat Jennings also star.
By September 2018, Marvel Studios was developing a number of limited series for Disney+, centered on supporting characters from the MCU films such as Wanda and Vision, with Olsen and Bethany returning. Schaeffer was hired in January 2019, the series was officially announced that April, and Shaman joined in August.
The series is presented as an homage to past sitcoms, with Wanda and Vision living in a reality that takes them through different decades of television tropes. Filming began in Atlanta, Georgia in November 2019, before production halted in March 2020 due to the COVID-19 pandemic.
Production resumed in Los Angeles in September 2020 and completed that November. The series was praised by critics for its homages to past sitcoms and the performances of Olsen and Bethany.
After the events of Avengers: Endgame (2019), Wanda Maxim off and Vision are living the idyllic suburban life in the town of West view, trying to conceal their powers. As they begin to enter new decades and encounter television tropes, the couple suspects that things are not as they seem.
Elizabeth Olsen as Wanda Maxim off / Scarlet Witch : An Avenger who can harness magic, engage in telepathy and telekinesis, and alter reality. Olsen said the series brings the character more in line with the comic book version, including depicting her mental illness, and introducing the “Scarlet Witch” moniker that was not previously used in the Marvel Cinematic Universe.
Executive producer Kevin Face added that the series explores the extent and origin of Wanda's powers. Olsen felt her “ownership” of Wanda was strengthened during development of the series, which allowed her to explore new parts of the character's personality such as her humor and nastiness.
: 30 She was thrilled that WandaVision focuses on Wanda rather than telling her story “through everyone else's story lines” as in the films, and was sold on joining the series when Face mentioned specific Scarlet Witch comic storylines that inspired WandaVision. Olsen was influenced by Mary Tyler Moore, Elizabeth Montgomery, and Lucille Ball for her performance.
Paul Bethany as Vision : An android and former Avenger created using the artificial intelligences J.A.R.V.I.S. And Patron as well as the Mind Stone, who was killed during the events of Avengers: Infinity War (2018).
Bethany described Vision as “decent and honorable” who “exists for Wanda”. He was influenced by Dick Van Dyke and Hugh Laurie for his performance.
Kathryn Hahn as Agnes: Wanda and Vision's “nosy neighbor”. Hahn described Agnes as the neighbor “that won't get off their couch at the end of the night” and is “always in business”.
(Sentient Weapon Observation Response Division), who first introduces herself to Wanda and Vision as their neighbor “Geraldine”. As a child, she looked up to her mother's friend and colleague Carol Dancers / Captain Marvel.
Co-executive producer Mary Pianos called Ram beau's inclusion in the series “a discovery” when it was first being researched and developed, that was “not quite mapped out, but really enriched in the show”. : 28 The series shows the things Ram beau “has seen and gone through and how they've shaped her life” since her appearance in Captain Marvel (2019).
Kat Jennings as Darcy Lewis : A political science major turned doctor who previously was an intern for Jane Foster and befriended Thor, and is working with Jimmy Woo to solve a mystery. Randall Park as Jimmy Woo : An FBI agent who was the parole officer of Scott Lang / Ant-Man and is working with Lewis to solve a mystery.
Jolene Purdy has a recurring role as Beverly, Wanda and Vision's neighbor. Other residents of West view include Asif Ali as Vision's co-worker Norm; David Len gel as Phil Jones; Amos Click as Dennis, the mailman; Emma Caulfield Ford as Lottie Jones, Phil's wife who is a “skeptical mom who rules the neighborhood with an iron fist and poison smile”; David Payton as Herb; Randy Ogles by as Dr. Stan Nielsen; and Rose Bianca as Mrs. Nielsen, Stan's wife.
Ithaca Enriquez and Victoria Blade appear as the man and woman in the fake commercials. By September 2018, Marvel Studios was developing several limited series for its parent company Disney's streaming service, Disney+, to be centered on supporting characters from the Marvel Cinematic Universe (MCU) films who had not starred in their own films, such as Wanda Maxim off.
Actors who portrayed the characters in the films were expected to reprise their roles for the limited series, including Elizabeth Olsen as Maxim off. The series were expected to be six to eight episodes each, have a “hefty rivaling those of a major studio production”, and be produced by Marvel Studios rather than Marvel Television, which produced previous MCU television series.
Marvel Studios President Kevin Face was believed to be taking a “hands-on role” in each limited series' development, focusing on “continuity of story” with the films and “handling” the actors who would be reprising their roles from the films. By the end of October, Paul Bettany's Vision was expected to play a significant role in the series, which would focus on the relationship between Maxim off and Vision.
JAC Schaeffer was hired in January 2019 as head writer of the series, reportedly titled The Vision and Scarlet Witch, after previously working as a writer on the Marvel Studios films Captain Marvel (2019) and Black Widow (2021). Schaeffer was set to write the first episode and executive produce the series.
That April, Disney and Marvel officially announced the series as WandaVision. Matt Shaman was hired to direct and serve as an executive producer in August, with Face also executive producing alongside Marvel Studios' Louis D'Esposito and Victoria Alonso.
50 :20 Face said the series would tell the story of Maxim off and Vision, show what Maxim off can do, explore who Vision is, and introduce the comic book name “Scarlet Witch” to the MCU “in ways that are entirely fun, entirely funny, somewhat scary, and will have repercussions for the entire future of Phase Four of the MCU”. He added that viewers would not need to be familiar with the MCU to understand the series, but there would be a “wealth of rewards” for those who have seen all the films and knew the plans for Phase Four.
Schaeffer received comics material and an outline of what Marvel Studios hoped to accomplish with the series, in order for her to help shape their ideas into a coherent structure. :28 Face came up with the idea of having Maxim off and Vision be in a “strange fantasy world of suburban bliss” based on his love of sitcoms and how they can be used to escape from reality; Schaeffer helped figure out what that meant for the characters.
Face was also visually inspired by Mike del Mundo's Norman Rockwell meets Leave it to Beaver covers of the comic book series The Vision by Tom King and Gabriel Hernandez Malta. Face, Schaeffer, Shaman, and co-executive producer Mary Pianos dedicated themselves to “nail down” the series' irreverent tone.
Schaeffer hired eight writers for the series' writers room, including four women and several people of color, because of her belief that “stories are better the more perspectives you have”. Megan McDonnell served as a staff writer on the series, before being promoted to story editor.
Many of the writers had previous television experience, which Schaeffer used to help craft each episode within the larger narrative, :29 as one of the initial challenges for the series was figuring out how to tell the story in the long-form structure of a limited series rather than a film. Schaeffer compared the final approach to a multi-issue storyline in the comics, and felt WandaVision was “in the bizarre space of being a tent pole movie within a limited series construct”.
:29 She said the final series remained very close to her original pitch to Marvel Studios. WandaVision has been described as part “classic sitcom “, part “Marvel epic” by Face, “super avant-garde and weird” by Bethany, a “full-on action movie” mixed with sitcoms by fellow actor Hannah Paris, and a series that is “marrying epic superhero action with small-town sitcom silliness” by Pianos.
Schaeffer and Shaman called it “a love letter to the golden age of television”. The series pays tribute to many eras and genres of American television, including modern documentary-style sitcoms like Modern Family and The Office.
The writers and Shaman focused on the family sitcom over other types such as workplace sitcoms because the family aspect kept the series “very centered”. Both Schaeffer and Shaman studied past sitcoms to learn their “trappings and styles”, while avoiding tropes from older sitcoms that would not be acceptable in a modern series.
They and Face spoke with Dick Van Dyke, the star of the eponymous 1960s sitcom, to learn how that series could “be very broad with silly physical-comedy gags, and yet it never feels false”. Van Dyke told them his show was guided by what could and could not happen in real life.
Other past sitcoms that inspired the series include I Love Lucy, My Three Sons, Father Knows Best, The Adventures of Ozzie and Harriet, Bewitched, Family Ties, Friends, 30 Rock, and Parks and Recreation. 45 Meta references are made to Full House, which starred Olsen's older sisters Mary-Kate and Ashley, with that series enmeshed in “the fabric” of what was being done in WandaVision.
The fictional sitcom that the characters are in, also called WandaVision, features fake commercials that are “slightly nefarious”, including promotion for the organization Hydra, which Face said were “part of the truths of the show beginning to leak out”. He felt that new MCU viewers would see these just as strange versions of commercials from the different sitcom eras, while viewers well versed in the MCU films would be able to see connections in the commercials to past events.
Olsen said the sitcom setting is supported by the comic books, and Face told her that there were two specific comic series that he wanted to combine as inspirations for WandaVision. The House of M comic book storyline by Brian Michael Bends and Olivier Compel was one of those.
Other inspiration was taken from The Vision and the Scarlet Witch by Bill Mantle and Rick Leonard, and from The Vision and the Scarlet Witch by Steve Engelhardt and Richard Howell. Schaeffer compared her work on the series to the film Black Widow, saying WandaVision would be “the polar opposite” to the film's style of aggressive, visceral action.
Shaman and Schaeffer watched all the existing footage of Maxim off and Vision, including footage that did not make it into the previous MCU films such as unused dailies. While exploring this footage, Schaeffer was drawn to “the more mundane moments” such as Maxim off and Vision enjoying their time in Scotland in Avengers: Infinity War (2018).
:29 Schaeffer knew there was “a sort of wonder and sincerity” to the two characters, and felt putting them in a sitcom setting would result in a “calm and warm” feeling, due to their familiar family dynamic, despite the ridiculousness of the premise. 45 She found the pair appealing because they are both outsiders who “find each other.
They're both different with capital D s.” Pianos said the series has fun “mess with expectations” of past suburban family sitcoms, and would make the audience question where WandaVision fits into the MCU timeline. She added that Maxim off and Vision's romance helps ground the series, and said some episodes deviate from the family sitcom structure.
The series explores how Maxim off grew up in an Eastern European country and relied on black-market American products such as television. It takes place after the events of Avengers: Endgame (2019), and “directly set up” the Phase Four film Doctor Strange in the Multiverse of Madness (2022), in which Olsen reprises her role as Maxim off.
With the official announcement of the series in April 2019 came confirmation that Olsen and Bethany would reprise their roles of Maxim off and Vision, respectively, in the series. Bethany agreed to join the project after meeting with Face and D'Esposito, who pitched an “exciting and bonkers” idea for his character's return to the series.
Olsen was originally nervous with Marvel's move to television and how it could connect with the films, but was excited when she learned of Schaeffer's involvement as well as the comic book storylines that inspired the series. Hannah Paris was revealed to have been cast in the role of Monica Ram beau in July 2019.
Ram beau was introduced to the MCU as an eleven-year-old in Captain Marvel, which is set in 1995; Akira Akbar portrayed the character in that film. A month later, at Disney's biennial convention D23, Kat Jennings and Randall Park were set to reprise their respective MCU film roles as Darcy Lewis and Jimmy Woo in the series, with Kathryn Hahn also cast in the role of Agnes.
Jennings previously appeared in the films Thor (2011) and Thor: The Dark World (2013), and felt her character's role in the series was “somewhat of a surprise” for fans, while Park joined the series following a general meeting with Marvel to discuss Woo's future in the MCU following his introduction in Ant-Man and the Wasp (2018). Schaeffer felt it was fun to feature Jennings and Park in the series since both were “veteran” sitcoms actors, previously starring in 2 Broke Girls and Fresh Off the Boat, respectively.
The official trailer revealed that Fred Me lamed and Debra Jo Rump were portraying Maxim off and Vision's neighbors, the Harts. Asif Ali was revealed to be cast in the series in October 2020, as Vision's co-worker Norm, as was Jolene Purdy in the recurring role of Beverly.
Costume designer Makes C. Ruben said it was rare for a singular piece of media to progress through so many decades without its characters aging. :6 Olsen enjoyed exploring how women were viewed in society in each decade through Maxim off's costumes.
The suit and wedding dress worn by Vision and Maxim off in the opening titles were both made for the series, with the dress created as an homage to Audrey Hepburn. With the series shifting from black and white to color, the various designers worked together to ensure a unified look for the characters and sets.
Production designer Mark Worthington said his team learned how different colors work in a black-and-white format. :6–7 Prop designer Russell Bobbie previously worked on the film Pleasantville (1998), which Shaman said the series had a “spiritual connection” to along with The Truman Show (1998).
The series end credits features “swarms of LED-style glowing lights forming into constructs from the show” that is reminiscent of the art style in “House of M”. Charles Pulliam-Moore at io9 felt the credits were “undeniably Marvel in the big screen sense”, even though WandaVision was “embrace its identity as a streaming miniseries”.
Filming began in early November 2019, at Pinewood Atlanta Studios in Atlanta, Georgia, with Shaman directing, and Jess Hall serving as cinematographer. The series was filmed under the working title Big Red.
Filming was previously reported beginning on September 21 in Los Angeles, California. Bethany felt the approach to the series was “very clever” given it had to make six hours of content on a budget similar to a two-and-a-half-hour MCU film.
Shaman did try to shoot things chronologically to aid the actors with the progression through various sitcom eras. :34 The actors were also shown episodes of past sitcoms before filming to help them “capture the spirit of each tone and style”, :50 since the approach to comedy is different in each decade.
Dialect coach Courtney Young helped the actors sound and move like people from each era, with Olsen adding that the manners of each decade were noted. The first episode of the series filmed for two days in black and white, and had a live studio audience present, to mimic sitcom filming.
Olsen had previously indicated that there were discussions regarding whether the series would also use a laugh track. For episodes with a laugh track that was not recorded live, the series worked with an expert to explain how laugh tracks changed throughout time, which helped inform the sound design.
When shooting scenes in black and white, Bethany was painted blue, rather than Vision's maroon color, since the blue appeared better in the grayscale image. Both Olsen and Bethany found the experience of the premiere to be surreal and unique.
A 4:3 aspect ratio is also used for the black and white scenes. Shaman enjoyed being able to experiment with the aspect ratio, having it be directly related to the narrative.
Other period-specific touches were done in each episode, such as period-appropriate camera lenses and lighting and live special effects. Shaman wanted to ensure the sitcom elements never felt like a parody, but were as authentic as possible.
:6 After the first two episodes mainly reference The Dick Van Dyke Show and Bewitched, respectively, further episodes have multiple sitcom homages in them, such as the third referencing both Good Times and The Brady Bunch, “alluding to how television's popularity grew throughout the years”, eventually emulating “the talk-to-the-camera, shaky-camera, documentary style” of some modern sitcoms. During moments when something goes wrong with Maxim off's illusion, Shaman did “a lot of work with lenses and the lighting to change the mood, and to change the field”.
He added that these moments move the series “into a Twilight Zone territory” and that the sound design also played a key part in these moments. Location shooting took place in the Atlanta metropolitan area throughout December 2019 and February 2020.
A filming wrap party for the series occurred on March 1, ahead of a planned four-week hiatus, :50:1:07 but all production halted on March 14 due to the COVID-19 pandemic. Filming resumed in Los Angeles in September 2020 with rigorous COVID-19 safety protocols in place, :50 to complete the backlog and outside filming necessary for the series.
Olsen found it hard resuming production after being isolated during the shutdown, while Bethany disliked that the safety protocols meant the actors had to return to their trailers when not filming, which he felt removed much of the camaraderie between the cast and crew. Production on the series wrapped by mid-November, with Olsen shooting back-to-back with Doctor Strange in the Multiverse of Madness.
This informed him of how to approach a few things differently, :34 but the series was not creatively altered. Tim Roche, Nona Kodak, and Zone Baker served as editors.
Visual effects' supervisor Tara DeMarco said contemporary visual effects were used to remove wires and smooth the cuts, and occasionally to create wire gags that were not filmed practically. :34 Bethany estimated that the series had more visual effects shots than the 2,496 in Avengers: Endgame.
Visual effects for WandaVision were created by Digital Domain, Frame store, Industrial Light & Magic, Lola VFX, Monsters Aliens Robots Zombies, RISE, Rodeo FX, SS VFX, The Yard VFX, and OIC Studios. Beck paid homage to the sitcoms in each time period through his instrumentation, compositional style, and period-specific recording and mixing techniques.
Beck looked for ways to connect his music across the different styles, such as composing one love theme for Maxim off and Vision. :9 Michael Parakeets and Alex Kovacs co-composed the series' music.
In December 2020, Robert Lopez and Kristen Anderson-Lopez were announced to have written theme songs for some series' episodes. They were approached for the series by Shaman, who was friends with Lopez at college, and they had previously worked with Beck on the music for Disney's Frozen franchise.
Lopez described the motif as “kind of like the WandaVision call-out, easily identifiable in some way in each song”. The theme for the first episode evokes the “dawn of television” and is about the love between Maxim off and Vision.
Soundtracks for each episode, including Beck's score and the theme songs by Lopez and Anderson-Lopez, will be released by Marvel Music and Hollywood Records digitally one week after each episode premieres. At the 2019 D23, a teaser for the series was shown that combined footage of Maxim off and Vision from previous MCU films with images from old sitcom television series The Dick Van Dyke Show and Father Knows Best.
The series was promoted as part of Expanding the Universe, a Marvel Studios special that debuted on Disney+ on November 12, 2019. In December, Face debuted the first image from the series at Comic Con Experience.
Minnie Marcus of Collider said it was “very interesting “, highlighting the “old-school black and white” coloring. A commercial for the series and fellow Marvel Studios Disney+ series The Falcon and the Winter Soldier and Loki was shown during Super Bowl LIV.
Inverse's Dais Johnston found visual references to past sitcoms in the commercial, including The Dick Van Dyke Show, Leave It to Beaver, Bewitched, The Brady Bunch, Roseanne, and Full House. They thought the series would be a “must-see” for Marvel fans as well as “anyone looking for a hit of nostalgia: the era-spanning framework means anyone can relive the shows of their childhood”.
Julia Alexander of The Verge said the footage “wasn't much” but offered “enough glimpses to tease fans”. Raleigh South at Collider felt of all the Super Bowl commercials, Marvel's “stole the whole show”.
She was most excited by the “utterly strange and unpredictable looking” WandaVision footage. The series' official trailer was released on September 20, 2021, during the 72nd Primetime Emmy Awards.
WandaVision also had over 302,600 social mentions, trending on Twitter immediately after a teaser aired during the Emmy Awards ahead of the full trailer's release, and ultimately trending fourth on Twitter. Ethan Anderson from /Film said the footage in the trailer looked like “one of the most Trippe Marvel projects to date”.
He also noted more lighthearted aspects of the trailer such as Vision wearing a Halloween costume of the character's comic book design. Matt Patches at Polygon called the trailer “a hoot, full of bright colors and odd behavior”, adding that it still left much of the series a mystery.
Comic Book Resources Noah Dominguez said the trailer “offers quite a bit in terms of content” with “a vivid look at some visual tricks on display”. Charles Pulliam-Moore of io9 called the trailer's use of Twilight Time by The Platters “the most haunting” of all of its strange features, and felt the trailer's editing created “the effect of rapidly flipping through television channels in search of something good to watch”.
The Hollywood Reporter's Richard Newly described the trailer as “jam-packed with information” and felt that it “gives fans quite a lot to look forward to, as well as some mysteries to ponder over leading up to the premiere”. After actors from past Spider-Man films were revealed to be appearing in the untitled Spider-Man: Far From Home sequel, Game McMillan of The Hollywood Reporter saw the series' official trailer “in a new light”, suggesting the different versions of Maxim off and Vision that appear in the series were because of Maxim off “breaking down walls between different realities”, which could set up Doctor Strange in the Multiverse of Madness and the untitled Spider-Man film.
In early December, six posters for the series were released daily, each depicting a decade from the 1950s through the 2000s. Pulliam-Moore noted that with each new poster, “different elements shift and morph, both reflecting the passage of time and WandaVision's plot developments”.
The release of the posters was followed by a new trailer that debuted at Disney's Investors Day presentation. Anderson noted for /Film that the trailer featured more non-sitcom-inspired footage than previously seen, with “a lot to soak in”.
Chief Gutenberg at The Verge called the new trailer “mind-bending”, while Tom Reimann of Collider described it as “delightfully weird” and drew comparisons to the “House of M” comic book storyline. Tony Soon at Den of Geek highlighted the trailer's use of The Monkees song Daydream Believer “, believing the title and lyrics reflected Maxim off's state well, though he noted that the music becomes “barely recognizable under increasing layers of psychedelic weirdness” in the trailer.
The first two episodes of the series Marvel Studios: Legends explore Maxim off and Vision using footage from their MCU film appearances. WandaVision premiered on January 15, 2021, with the release of its first two episodes on Disney+.
He felt binge-watching the series after all the episodes were released would be an “equally fun experience”. Haitian Boo at /Film had assumed all the episodes would be untitled and wondered if the titles were being withheld upon release because they would be spoiling what happens in the episode or future events in the series; she did not find the titles for the first two episodes particularly revealing as both were common taglines heard in television.
:34 Schaeffer felt the series was “suited to this moment in time”, amidst the pandemic, because it is a “reflection of a lot of the anxiety that we're feeling, and a lot of the pathos and chaos of , so it feels very right to me”. The review aggregation website Rotten Tomatoes reported a 97% approval rating, based on 140 reviews, with an average rating of 7.85/10.
TVLine's Rebecca Gallucci gave the first three episodes an “A”, calling them “an intriguing, fresh, genuinely delightful deviation from what we've come to expect”, and praising the performances of the cast, specifically Olsen. She did question if the series had been better suited releasing its episodes all at once as opposed to weekly.
Than a traditional comic book series, and called it Marvel's version of the short Too Many Cooks. The shift between each decade in the episodes was “simply remarkable” to Liz Shannon Miller of Collider.
Miller praised Olsen and Bethany, and said Hahn was too good for mere words to encompass”. Awarding the series an “A”, Miller concluded that the MCU “framework has never allowed for this level of experimentation before now... WandaVision dares to actually really challenge the viewer”.
Darren French at Entertainment Weekly said it was an unusual start to Phase Four, and gave the first three episodes a “B+”. He described the scenes that “lovingly conjure the mood of very old television shows” as the best parts of the episodes, but was concerned that the mystery of the series would be “like just another movie” with the potential to become “an overly familiar superhero smash-up”.
French said the success of the series would be determined by how this is handled. Caroline Frame, in her review for Variety, called WandaVision “an admirably weird introduction to the new age of Marvel TV”, but felt it could be confusing to casual MCU viewers as well as fans of the sitcoms that inspired it.
Frame also did not find any of the episodes “hilarious”, and felt the series' best moments were when Maxim off and Vision were shown to not belong in their reality. Michael Phillips, writing for the Chicago Tribune, was more critical of the first three episodes, calling them “interestingly bad” and criticizing the use of sitcom tropes such as “canned and deadly” laugh tracks.
He also felt that one episode's worth of story was stretched out over the first three. Roxana Hawaii at RogerEbert.com said it was difficult to tell where the series would go from the first three episodes, but she felt Maxim off and Vision were being sidelined in favor of the allusions to past sitcoms and also that there was no “sense of narrative stakes” due to the series taking place within the larger narrative of the MCU.
Dominic Pattern of Deadline Hollywood was also critical of the series, calling it “tiresome” and “a baby boomer punchline in search of a joke”. Pattern believed WandaVision was a step backwards for Marvel television series, believing that Marvel's Netflix series and ABC's Agents of S.H.I.E.L.D.
Were better, and he added the series to his list of times Marvel had “gotten it wrong”. “Honey, I'm Chrome: Marvel prepares to take over TV with WandaVision ".
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Great themes by @Lyrikris10 and #bobbysoxer) for each episode of Marvel's @ wandavision on all major streaming platforms the week after video release. Flick o' the mind stone to my co-composers @mparaskevas and @alexkovacs " ”Tweet).
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“Marvel's WandaVision Trailer Shows Off '50s Sitcom Vibe”. ' WandaVision Trailer Racks Up Massive Traffic In 24 Hours Post-Emmys”.
' WandaVision Trailer: Scarlet Witch and Vision Are Back in a Warped Sitcom”. “First trailer for Marvel's WandaVision shows off the scope of Disney Plus series”.
WandaVision : Reality Comes Apart in Disney+ Series' First Trailer”. WandaVision's Teaser Posters Have Been Telling a Warped Story”.
“New WandaVision Trailer: Wanda Maxim off and Vision Are Ready to Fight”. WandaVision gets a mind-bending new trailer ahead of its January 15th release”.
“Marvel's New WandaVision Trailer Uses Classic Song to Chilling Effect”. “Marvel Studios Announces New Series Debuting Exclusively on Disney+”.
“Marvel finally confirm Phase 4 movies at Comic-Con”. The Mandalorian Set for Early Return, Disney+ Marvel Slate Starts in August”.
WandaVision Review: Marvel Studios' First TV Series Is an Ambitious, Refreshing Break From the MCU Norm”. “Disney+'s WandaVision unleashes the weird, untapped power of the Marvel Cinematic Universe”.
' WandaVision Review: The MCU's Most Daring Experiment Yet Could End Up Being Its Best”. WandaVision is a boldly surreal new direction for the MCU.