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.
Marvel’s WandaVision premiered on Disney+ on Friday 15th January 2021, launching with two episodes to really hit the ground running. And while the show may start off small with its quirky sitcom parody, director Matt Shaman told RadioTimes.com the episodes will get longer and more action-packed as they go along.
“We’ve always been describing it as a mix of classic sitcom and large-scale Marvel action and I think that’s very true, it’s an accurate way to talk about the show,” he said. “And it’s also been something that Kevin Face has been saying since the beginning, is that one of the things he loves so much about this show is that it’s just so full of surprises.
WandaVision episodes drop on Disney+ UK at 8:00AM (GMT) on Fridays, as was the case with the service’s previous sci-fi series: The Mandalorian. The Star Wars spin-off was released more or less simultaneously worldwide, with episodes dropping in the USA 12:00 AM PT and 3:00 AM ET, while fans in Australia got to watch them at 6:00 PM on Fridays.
We do know the release dates of each chapter in the surreal saga, listed below for your reference (mark your calendars for that finale because you know it’s going to be a big one): Don’t worry, Marvel hasn’t flown the coop and left you with only two episodes.
Despite the first two episodes being made available at the same time, Marvel Studios is resorting to a Mandalorian-style weekly approach from hereon out. Microsoft may earn an Affiliate Commission if you purchase something through recommended links in this article.
The show works similarly to The Mandalorian by taking the place to relax at the end of the week. After Avengers: Endgame, WandaVision follows Wanda Maxim off, aka the Scarlet Witch, and Vision, and lives their best life in a sitcom-influenced suburb of the 1950s.
But as soon as the series resolves this construct, the episode lengths will “vary more, yes,” Marvel boss Kevin Face told Line. Elizabeth Olsen, Paul Bethany, Hannah Paris, Katheryn Hahn, Randall Park and Kat Jennings star.
WandaVision is a nine-part miniseries set after the events of Avengers: Endgame, which sees Wanda Maxim off and Vision living a picturesque life in a suburban town. Plus, you'll save $30.00 on an annual subscription by signing up before the upcoming price hike, as Disney+ rates will be increasing in Canada on February 23.
The fourth phase of the Marvel Cinematic Universe is going to feature an increased focus on superheroes outside the main Avengers lineup, and WandaVision is a fitting way to start things off and take the MCU in some interesting new directions. Wanda and Vision try to fit into West view by participating in a talent show fundraiser.
Matt and Pete chat for the children about WandaVision Episode 2. Wanda Maxim off and Vision are a regular husband and wife with real questions lurking just beneath the surface of their brand-new idyllic locale.
Since we last spoke about WandaVision, we've gotten more information on the number of episodes, what's happening on launch day, and when the season will end. As the clock inches towards 2021 and better days, so to do we enter the final stretch before the return of Marvel Studios and the start of WandaVision.
We push through the static to dig deep into all the potential theories ahead of the start of the series. With Disney's bevy of announcements from its investor day, Pete and Matt look over the landscape for Marvel movies and TV shows, the future of Star Wars.
Entertainment Weekly, the monthly periodical, has looked behind the curtain on WandaVision, but what do we see in our crystal ball? It's been a busy week for Marvel Studios, and PhantasticGeek.com's Pete and Matt are ready to break down all the news about WandaVision's release date, the schedule move for Falcon and the Winter Soldier, filming on Loki, and news on Ms. Marvel and She-Hulk.
Marvel Comics fans have been getting House of M vibes from WandaVision since the first trailer for the series dropped. It didn't hurt that there was a blatant Easter egg in the trailer referencing the popular comic event, as a label on a bottle of wine in the trailer (and seen in Episode 1) translated from French to a reference to the comic title.
However, a new theory, first posed on ComicBook.com's Phase Zero podcast, suggests that all of WandaVision could simply be amounting to the first issue of the House of M comic series with the bulk of the story coming later in the Marvel Cinematic Universe. In short, the first issue of the House of M comic sees Charles Xavier trying to level with Wanda Maxim off as she is creating a fake reality for herself where she gets to live happily ever after with her kids.
He meets with Avengers and X-Men as the essential debate whether they have to kill the Scarlet Witch to protect their universe. At the end of the first issue, before a clear decision was agreed upon by all parties, Wanda uses her powers to consume everyone into a new reality.
The rest of the series focuses on restoring the main reality the characters knew before Scarlet Witch changed everything. In the video below, the Phase Zero podcast discusses how this could be what's coming at the end of WandaVision and what some of the upcoming movies which are known to be tying into the Disney+ series could be dealing with.
“This show could all be the first issue of House of M, ” I explained on this week's Phase Zero podcast episode. I think that this could end with Wanda, essentially, losing control of her powers, everything becomes this alternate reality.
“Pens Che la genre corner sentiment all cinema” Due to a decentralized approach for tackling the Covid-19 pandemic, Spanish distributors must keep up to date on the different restrictions affecting cinemas in every region of the country, making it very hard to schedule and promote their upcoming releases.
Europa: What kind of films make up the catalog of Wanda Vision ? What is your company’s set-up? Miguel Morales: When we started working in film distribution back in 1992, some of our first releases were the Three Colors trilogy by Krzysztof Kielowski and Orlando (Sally Potter, 1992).
We have established good relations with some directors we followed over the years, like Kielowski, the Darlene brothers or Spain’s Jaime Rosales, with whom we have also produced some films. We were involved in a few theaters in Bilbao, Santander and in Argentina, but these are no longer active, and we have been partners of the Filming streaming platform from its beginning.
Pubblicitaria) What would you say are the main particularities and challenges of the Spanish market for the distribution of independent cinema? Another challenge of the Spanish market, although I think it is shared with other European territories, is that independent cinema, even national productions, are having worse results in theaters.
The general box office numbers have increased in Spain over the last few years, but these are now concentrated in fewer titles. If you want to release more than 10 or 15 prints of a film in theaters, you have to dub, otherwise you won’t reach an important part of the audience.
Based on that, we build the campaign and the promotional materials, we establish the line of communication and even plan the dubbing. In this case, we worked a lot with the dubbing, introducing words and expressions that could resonate with our audience, because it was an adaptation of a dialect spoken in the north of France.
We also put a lot of effort into the promotion, and eventually, the film worked particularly well in Spain. Nowadays, for a European film, roughly 50% of the income comes from theaters, 5% from DVD and VoD, and the remaining 45% from television.
As for the market trends, DVD used to be an important part of our turnover, but now it has virtually disappeared. We have also noticed a general reduction in box office results for independent cinema.
10 years ago, a relatively well known art house European film could make 200k admissions, but now these titles are doing around 80k. In Spain, the restrictions in theaters are imposed by the different regional governments, so it has become a real jigsaw.
We hope the MEDIA program will adapt the criteria for the next Automatic call, because the income we had in 2020 has been ridiculous. On a national level, they have created new lines of support for exhibition, which didn’t exist before, but regarding distribution, there has been nothing.
During all these years, we had many ups and downs, and the market has changed a lot, but we have never experienced a situation like this. What we have to do now is to work hard in order to recover the audience and encourage them to return to the cinemas to watch independent films.