Can I Watch Wandavision At Midnight

James Lee
• Sunday, 17 January, 2021
• 11 min read

For those eager for their next MCU fix and wondering what time Marvel's WandaVision comes out each week, the new Disney Plus series is being released Fridays at midnight PT/3am ET. The next chapter of WandaVision, episode 4, will be available on Friday, January 29 at midnight PT/3am ET on Disney Plus.

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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.

*Warning: minor spoilers for the Avengers movies, WandaVision episodes 1 and 2, and other Marvel content may exist below* In this case, we're starting to get to know Wanda Maxim off/Scarlet Witch (Olsen) and Vision (Bethany), who first appeared in the Avengers trilogy, a bit better.

Namely...how is Vision alive, given that Thanos killed him in Infinity War and WandaVision is set after the events of that movie? This means that adults will be able to watch every episode of the Simpsons ever made while kids can watch classic Disney films like Cinderella, The Little Mermaid, The Lion King and more.

Disney Plus is already cheaper than competing streaming services like Netflix, but you can save even more when you sign up for an annual subscription which gives you 15% off the monthly price. Obviously you have to splash the cash at the start, but with so much content to get stuck in to we very much doubt you'll run out of things to watch before the 12 months are up.

WandaVision is just the latest in a string of recent blockbuster releases exclusive to the platform, including Soul, The Mandalorian, Mulan, Hamilton, and much more. Finally, now that Disney has set the precedent of releasing its live-action Mulan remake on the service instead of in theaters through its Premiere Access program, expect the company to keep bring more blockbuster films that were originally intended to be shown on the big screen to Disney Plus in 2021.

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Starring Elizabeth Olsen (Wanda/Scarlet Witch) and Paul Bethany (Vision) in the titular roles, the show presents a unique take on the Marvel Cinematic Universe. While the streaming platform is yet to release its official title and trailer, it is believed that the show will continue to follow its unique style of storytelling through which they pay tribute to the legendary sitcoms of the 20th century.

Episodes 1 & 2 are set in the black and white world whereby Wanda Maxim off and her husband move into the West view town and try to fit in with normal people. The next chapter of the nine-part series will now be a colored view of Wanda's fake reality as it takes a 70s tone, according to Fan sided.

A voice on the radio reveals that she is being monitored and a beekeeper emerges from the sewer outside Wanda and Vision's house. “' WandaVision (premiering this Friday) is a rare show where you might want to pay close attention to the commercials that airing during it, as part of the retro sitcom premise,” TV Line suggests after speaking to Marvel Studios President Kevin Face.

WandaVision will focus on the iconic Marvel Comic characters Wanda Maxim off, who is also known as the Scarlet Witch (Elizabeth Olsen), and Vision (Paul Bethany). Wanda and Vision were both seen in the Avengers film franchise, which was most likely included to introduce fans to the pair in preparation for the show.

In Avengers: Infinity War, the couple are seen meeting up in Edinburgh, but their bubble is soon burst when villain Thanos (Josh Brain) arrives. Wanda is later forced to destroy the Mind Stone in Vision's head to prevent Thanos from getting his hands on it and thus saving the universe.

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Thanos did use the Time Stone however to reverse her actions which brought Vision back to life but then killed him again. Few other details have been released regarding the plot but Wanda and Vision will be living as a married couple with two children.

In a bizarre move, each episode is going to be modelled on comedy shows from different eras, ranging from the camp 1950s to the quirky family in the 1990s. WandaVision will premiere on the streaming service on Friday, January 15, with the first two episodes being released.

The Marvel sitcom is going to be out just after midnight PST (Pacific Standard Time). But if you're living on the east coast, then the new episodes will be available at 3am EST (Eastern Standard Time).

As for Disney+ subscribers in the UK, WandaVision will be ready to watch from 8am GMT (Greenwich Mean Time. Paul Bethany as Vision and Elizabeth Olsen as Wanda Maxim off in Marvel Studios' WANDAVISION.

The Marvel Cinematic Universe series has been making a huge impression on fans over the past couple of days. Starring Elizabeth Olsen and Paul Bethany, the MCU series features the return of their characters Wanda Maxim off/Scarlet Witch and Vision.

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The first two episodes received an incredibly positive response from fans and critics, with many praising Marvel for the innovative techniques that they applied. That doesn’t necessarily mean there won’t be one but as the show is on a streaming service and not broadcast TV, there is considerably less need for weekly promos and advertisements.

Episode 3 will take on something of a ’70s tone (as the first two paid homage to the ’50s and ’60s) and feature Wanda and Vision being parents as they try to bring up their kids in a world now filled with color. The blockbuster movie franchise is taking some of its stars to the small screen, starting with Disney+'s WandaVision (first two episodes streaming Friday, then weekly, ½ out of four), a messy but pleasantly silly superhero sitcom starring Elizabeth Olsen and Paul Bethany as Avengers heroes Wanda Maxim off/Scarlet Witch and Vision.

It's the first live-action Marvel series made for Disney+, a more A-list and heavily promoted outing than the handful of shows with lesser-known film heroes that have populated series on ABC, Free form, Hulu and Netflix since Marvel first dipped into TV with ABC's “Agents of S.H.I.E.L.D.” It is also more directly relates to the Marvel movies, akin to required summer reading for comic book devotees.

“ WandaVision blurs the lines between TV show, overlong film and corporate cheerleader: It has the responsibility to bridge the gap to the mainstream films and kick off a long run of Marvel projects for Disney+ as part of Disney's overall march toward a streaming-first future. Here, Wanda's powers are dulled down to a “Bewitched”-like durability, and android Vision, occasionally seen with Bethany's own face, cracks jokes about how “definitely human” he is.

With each installment, a few more cracks in the sitcom facade appear, but the bigger mystery is unveiled at an excruciatingly slow pace. In the second episode, Hannah Paris is introduced as mysterious neighbor Geraldine, but those who have been following Marvel casting news will know there's more to her than that.

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Even more enthusiastic fans might struggle to place the series in context: If you saw “Avengers: Infinity War” years ago, you might not remember that Vision died, making his appearance even more intriguing. The actors are having fun and showing off their performance skills, not always possible in feature films with 15 other superheroes, fight sequences and super villains.

In “Infinity War,” the romance between Wanda and Vision was an important plot point but had little screen time. Under such circumstances (and so much makeup for Vision), the actors had a hard time selling their love story and their chemistry.

TV writers often hype their shows as “10-hour movies,” admitting from the word go that they believe the cinema to be the higher form of art. The early half-hours of WandaVision, ” Marvel Studios’ new Disney+ TV series, boast special powers of audience division.

“ WandaVision asks: Can the speedy Marvel android named Vision, played by Paul Bethany, die, twice, in “Avengers: Infinity War,” and still return to co-star in a series of half-hour TV sitcoms alongside Wanda Maxim off, aka Scarlet Witch, played by Elizabeth Olsen? After the events of “Avengers: Endgame,” Wanda and Vision are reunited, by means to be explained in future episodes, for a Witness Protection Program riff on suburban sitcom life.

In episode 1, we’re more or less in early ‘60s “Dick Van Dyke Show” land, in old-timey 4:3 aspect ratio and black and white. They’re just an android and “a magical gal in a small-town locale,” as the peppy theme by the “Frozen” and “Coco” Disney regulars Robert Lopez and Kristen Anderson-Lopez describes the set-up.

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Vision works for Computational Services Inc., while Wanda gets to know the neighbors, particularly the brassy, nosy, Gladys Gravity of the bunch, Agnes (Kathryn Hahn, italicizing every real and attempted wisecrack). We’re now in mid-’60s “Bewitched” territory, with animated opening credits and an eventual shift from black and white to color.

More superhero slapstick low jinks ensue with Vision and Wanda participating in West view Elementary School’s talent-show fundraiser, overseen by a planning committee more menacing than anything in “The Step ford Wives.” Cracks in this antiseptic paradise are starting to emerge: strange noises, glimpses of sinister characters from the 23-film Marvel “Infinity Saga,” a fleeting image of someone in a TV studio control booth, monitoring the sitcom action.

She’s doing her own probable undercover act, and we know her as the young girl in “Captain Marvel,” now grown up and on the verge of revealing her own Avengers connection. “ WandaVision director Matt Shaman and head writer JAC Schaeffer go whole hog with the TV sitcom tropes, to the point of utilizing a laugh track in some cases, a live studio audience for the premiere and an aura of strained unreality throughout.

In a Guardian newspaper interview, Olsen acknowledged the matter of Vision being “dead” and brought back to life, at least in these morphing sitcom confines. Also, Kat Jennings and Randall Park from the “Thor” and “Ant-Man” franchises have yet to appear, and they may do for WandaVision what they did for their Marvel movies: lighten the load and bring the deadpan.

But the creation of her 1951 bildungsroman Hangman is the focus of Josephine Decker’s experimental ‘biopic’, which reframes a period in Jackson’s life as though it were one of her famously unsettling tales. As a work of fiction, it’s an engrossing and twisted tale that plays on the tropes of Jackson’s own stories (creepy homes, the occult, unhappy marriages) rather ingeniously.

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Roach and Randolph’s biggest achievement here is in getting under their skin, to show how sexual harassment creates a workplace that crackles with danger and uncertainty for women. Bagging The Deals his second Oscar, the breath-snatching cinematography was anything but a gimmick, fully immersing viewers as George Mackay’s squad die trudges through muddy trenches and dodges relentless rifle fire.

Set in small-town New Mexico in the 1950s, as a radio DJ (Jake Horowitz) and switchboard operator (Sierra McCormick) discover a strange audio frequency, it maintained a mastery of mood throughout and offered up one of the most startling tracking shots of the year. Eliza Pittman’s clear-eyed drama about a teen girl (talented newcomer Sidney Flanagan) seeking an out-of-state abortion was certainly an ‘issues movie’ in a year when female healthcare was under serious threat.

High praise indeed for Sarah Patron’s London-set realist drama, which likewise turned to non-professional actors to tell the tale of teenager Shoal (Bulky Array), left to care for herself and her younger brother (D’Angelou OSI Kissed) when their mum does a runner. Work shopped for a year, Rocks felt alive and authentic, refusing to hit viewers over the head with the kitchen sink, but rubbing plenty of grit into its celebration of female friendship.

On Shudder, though, it became a phenomenon, drawing gasps of admiration at its resourcefulness (everyone coming together to work remotely) and screams of terror at its scare tactics, which range from topical isolation exploitation to good old- fashioned Boo! A scorching debut from National Film and Television School grad Nick Rowland, this followed the misfortunes of boxer-turned-heavy Arm (Cosmos Jarvis) in rural Ireland as he struggled to balance fatherhood to an autistic child, servitude to a ruthless gangster and some kind of humanity amid the carnage.

Some of its themes chimed with Bombshell, but Green’s film scored bigger dramatic impact on a much smaller scale, focusing on Julia Garner’s brilliantly understated performance as Jane, office assistant to a never-seen movie mogul. While the Weinstein parallels were inescapable, the movie’s true, devastating power lay in its acute evocation of every-office complacency, complicity and male entitlement.

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Rose Glass’ audacious debut burrowed deep into the mind of the evangelical nurse of the title (Morphed Clark), whose religious fervor peaks when she tries to ‘save’ her patient (Jennifer EHL). Horror remakes tend to come in two flavors: a dreadful waste of time (*cough* The Mummy), or a terrifyingly smart new spin.

Wells’ titular transparent fella as a bogeyman rooted in real trauma, though Elisabeth Moss’ Cecilia was far from a hapless victim, resourceful and resilient to the film’s punch-the-air final frames. Serious-minded it may be, but The Invisible Man didn’t skimp on rollercoaster scares, Channel’s confident and creative set-piece shocks bolstered by smart, subtle VFX.

“I wanted to make something that was like a boot on the throat of the audience,” said Channel, whose work won him a shot at another horror icon with The Wolfman, which is set to star Ryan Gosling. Released at the tail end of February, writer/director Céline Cinema’s sensual, intellectual period romance thankfully made it to the big screen before UK cinemas were shuttered; this intimate tale deserved an epic canvas.

After years of credible indie character work, Atkinson put the final nail in Edward Cullen’s coffin while wrestling with vindictive seagulls and mermaid vaginas. In Many, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman giving his best for 30 years) pens Welles’ directorial debut Citizen Kane from a ranch in Victorville, California, in 1940, while Kane-like flashbacks show us just how he arrived at his most important work.

Shot in black-and-white with a mono soundtrack to resemble a lost classic of the era, Many matched its technical brilliance with a witty, perspicacious script dealing with ambition, self-doubt, authorship, politics, and the power of the word. Their dad, a salesman in Manhattan’s diamond district, was the inspiration for Adam Sandler’s motor-mouthed jeweler Howard Rather, drowning in gambling debt but spying a way out when he lands a large Ethiopian gem.

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At two-and-a-quarter hours long, with enough overlapping dialogue to fill a movie three times that length, the film was intimately shot with handheld cameras, while brisk, choppy editing sucked out any last pockets of air. It’s not hard to see why: Bong seamlessly blended audience thrills with social commentary to fashion a rare film that would play to repertory cinemas and multiplexes alike, as the miserably poor Kim family strategized like chess masters to infiltrate the home of the wealthy Parks, only for a jaw-plummeting midway twist to toss all the pieces on the board up in the air and watch them rattle across the floor in supremely orchestrated chaos.

Not only did he and Warner Bros commit to releasing his $200 million-plus blockbuster theatrically when such heroes as James Bond, Wonder Woman and Maverick were all cowering behind the sofa, but he also hit us with his biggest mind-scrambler since Memento: a sci-spy action er with physics and philosophy to go with its sexy suits and kamikaze car chases. On one level, it was standard stuff, as a CIA agent we know only as the Protagonist (John David Washington) joined another, even- more-top-secret espionage outfit to trot the globe (India, Oslo, Italy, Russia) in an effort to stave off a terrorist threat, or perhaps even save the world.

The Protagonist’s gallivanting brought him into contact with a British intelligence officer (Robert Atkinson), an Indian arms dealer (Dimple Keypad), and a dastardly Anglo-Russian oligarch (Kenneth Branch) with a sad, beautiful, but oh-so- capable wife (Elizabeth Derick)... But such genre tropes acted as much-needed handrails given the world (-building) in Tenet was to spin so far off its axis it made that tilting-corridor scrap in Inception seem like a stroll in the park.

Feel it”) and what you had been an avant-garde, metaphysical, super-suspenseful blockbuster that surged forward with ruthless momentum even as cars, bullets and a 747 slid past in the opposite direction in a barrage of temporal- twiddling set-pieces lit up by explosions and implosions. “Bold I’m fine with, I was afraid you were going to say nuts,” said a character played by Hi mesh Patel who aids the Protagonist and Neil in crashing a plane into an Oslo airport.

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