Jac Schaeffer

Elizabeth Olsen

Paul Bettany

Kathryn Hahn

Teyonah Parris

Randall Park

Kat Dennings

Daniel Selon

Karen Bartek

Vasilios Tanis

Cynthia Welles

Courtney Young

Ashley Kravitz

Bill Mantlo

Brian Michael Bendis

David Finch

Jack Kirby

John Buscema

John Cassaday

Joss Whedon

Olivier Coipel

Steve Englehart

Roy Thomas

Stan Lee

Tom King

Richard Howell

A.J. Vargas

Anthony Francisco

Phil Saunders

Jackson Sze

Amanda Weir

Jennifer Bergman

Eliot Levin

Jim Stubblefield

Maureen McGuire

Jennifer Fleury

Mark Anderson

Drew Meyers

Kurt Peterson

John Harton

Virginia Burton

Danielle Stammers

Tricia Sawyer

Rick Leonardi

Kay Hoddy

Justin Burt

Barry Curtis

Jennifer White

Kevin R. Wright

Adam Keane

Jess Hall

Jonah Levy

Jan Philip Cramer

Steve Moncur

James Schembri

Josh Viers

Eric R. Johnson

Jamie Hallett

Jacqueline Gallagher

John Vecchio

David Wallace Allen

Jordyn Gregory

Gabriel Hernandez Walta

Joe Maneely

John Romita Jr.

Jim Steranko

Roger Stern

Al Feldstein

Danielle Dupre

Daniel Sudick

John David Duncan

Ashley Renee Saunders

Kalynn Littleton

Tyson Weatherford

Gary Weatherford

Kyle Allgood

Keith S. Farley

Michael Anthony Miller

John H. Samson

Daniella LaGraff

Hank Amos

Chris Giles

Andy Park

Russell Bobbitt

Kristen Anderson-Lopez

Robert Lopez

Victoria Alonso

Jason Tamez

Mayes C. Rubeo

Tara DeMarco

James Alexander

Dave Jordan

Peter Cameron

Mackenzie Dohr

Bobak Esfarjani

Gwendolyn Yates Whittle

Mary Kane

Christophe Beck

Sandra Doyle Carmola

Sarah Halley Finn

Jason B. Stamey

Mark Worthington

John Collins

Rachel Robb Kondrath

Chikako Suzuki

Sci-Fi & Fantasy

Mystery

Drama

The Series Finale

WandaVision

Disney+

Marvel Studios

United States of America

watchnrant

WandaVision is a bold, genre-bending triumph that redefines what superhero storytelling can be. The series opens with a surreal plunge into classic TV sitcoms, paying homage to I Love Lucy and Bewitched—a bold move that quickly proves its worth. WandaVision reminds us that emotional stakes can hit the hardest in a universe of super-powered battles.

Elizabeth Olsen is mesmerizing. Her portrayal of Wanda Maximoff is a masterclass in character evolution, as she moves effortlessly between sitcom whimsy and gut-wrenching emotional depth. Wanda’s desperate attempt to control her unraveling world is heartbreaking and terrifying, and Olsen makes you feel every ounce of that pain. Paul Bettany matches her performance with a comedic brilliance that brings new layers to Vision, turning their shared scenes into captivating emotional duets.

But WandaVision is far more than a love letter to nostalgia—it’s a fully immersive experience. Each episode meticulously recreates a different TV era, from the black-and-white charm of the 1950s to the neon flash of the 80s. The period details, from set designs to costumes, are spot-on, giving the series a rich visual texture. You’d be forgiven for thinking you were watching an episode of The Dick Van Dyke Show—until the cracks in the facade start to show, hinting at a far darker reality lurking underneath.

Visually, WandaVision is a feast. The shifting aesthetics aren’t just clever flourishes but integral to the story. As the series moves through different eras of TV, the visual style mirrors Wanda’s emotional unraveling. The glossy perfection of early sitcoms begins to fracture, reflecting the way grief and trauma distort her perception of reality. This isn’t just a fun gimmick—it’s a profoundly affecting metaphor for Wanda’s internal collapse, making her unravel something you feel as much as you see.

At its core, WandaVision is about grief, trauma, and identity. Wanda isn’t just mourning Vision—she’s grappling with who she is after everything she’s lost. Her immense power allows her to bend reality to her will, yet she’s unable to confront the emotional wreckage inside. The show visually represents this struggle, with each glitch and shift in her constructed reality as a metaphor for her fractured sense of self. WandaVision brilliantly captures a woman at war with her identity, trying to reconcile her past, pain, and future.

This identity crisis shapes Wanda’s every decision. Unable to let go of her trauma, she creates a world where she can hide from it. But as the cracks in her illusion grow, it becomes clear that even her immense power can’t protect her from the truth. The show’s layered narrative and visual style turn Wanda’s story into a poignant meditation on how trauma reshapes our sense of self and how running from grief only deepens the wounds.

One scene that perfectly encapsulates this tension is the dinner sequence in the first episode. What starts as a lighthearted sitcom fare quickly spirals into something unsettling as Wanda struggles to control her reality. The laughter fades, the lighting shifts and the discomfort is palpable as her carefully constructed world teeters on the edge of collapse. In moments like these, WandaVision masterfully balances its tonal shifts, moving from quirky homage to psychological thriller with a deft touch.

The series is a slow burn, but that deliberate pacing makes its emotional depth possible. WandaVision takes its time, allowing the audience to sit with Wanda’s grief and confusion. This might feel jarring for some, especially for those expecting the fast-paced action Marvel is known for. But this slower pace is essential to the show’s impact—it gives the emotional stakes time to breathe, and the payoff is worth the wait. As Wanda’s world unravels, the tension builds not through action but through her illusions’ slow, steady collapse.

Marvel’s decision to prioritize emotional complexity over explosive action in WandaVision significantly departs from its usual formula. This shift signals a broader evolution in superhero media that embraces introspection and character-driven storytelling. WandaVision shows that superhero stories can be just as much about our internal battles as the external ones, setting a new standard for what the genre can achieve.

While Olsen and Bettany are the heart of the series, the supporting cast also shines. Kathryn Hahn is a standout as Agnes, bringing comedic flair and a sinister undercurrent to her role. Her shift from a nosy neighbor to something far more ominous is one of the series’ most thrilling transformations. Teyonah Parris, as Monica Rambeau, adds emotional depth to the broader MCU connections, grounding the story while bringing her vulnerabilities to the forefront. Monica’s own experience with loss, having been snapped away and returning to find her mother gone, mirrors Wanda’s grief, adding layers to the show’s exploration of trauma. Both actresses enhance the ensemble, making WandaVision a rich tapestry of performances.

Matt Shakman and Jac Schaeffer deserve immense credit for crafting a show that blends absurdity with emotional resonance. The tonal shifts—from sitcom pastiche to psychological horror—could have easily derailed the narrative, but instead, they heighten the series’ complexity. Shakman’s direction and Schaeffer’s writing push the boundaries of superhero storytelling, resulting in a series that feels as innovative as it does intimate.

Another scene that stands out is Wanda’s confrontation with Agatha Harkness (Kathryn Hahn) in later episodes. This moment exemplifies the total collapse of Wanda’s illusion, and Agatha’s role as a manipulator intensifies the tension. The scene is a high-stakes emotional showdown that strips away Wanda’s defenses, forcing her to confront the pain she’s buried under layers of sitcom facades. This confrontation highlights the show’s seamless ability to shift from personal drama to supernatural spectacle, all while keeping the emotional core intact.

Of course, WandaVision isn’t for everyone. Its experimental structure and slower pacing may alienate viewers expecting the fast-paced, action-heavy fare typical of the MCU. But for those willing to embrace its reflective nature, the series offers a more profound, more emotionally charged experience. It’s a gamble that pays off in ways that redefine what superhero television can be.

WandaVision isn’t just a standout in the MCU—it’s a standout in modern television. Its blend of genres and experimentation with form transcends the superhero genre, positioning itself alongside Legion, which uses genre as a framework to explore deep emotional and psychological territory. WandaVision proves that superhero stories can be as rich, layered, and complex as any prestige drama, showing that sometimes, the most compelling battles are the ones we fight within ourselves.

So, is WandaVision a triumph? Absolutely. By blending sitcom nostalgia with emotional depth and mind-bending twists, WandaVision redefines what superhero storytelling can be. Marvel has set a new bar for its TV future, and if this is the direction they’re headed, count me in.

Martha

This was perfection. Way to tell a unresolved story that needed resolving. Heartbreaking but fun. Recommend to ALL Marvel fans.

Wanda was never a character I cared for or really wanted to explore beyond the basics. However, thanks to this show, I absolutely love Wanda. I feel like most of us can relate to her in not wanting to let go of someone you love ... And you go so far as to wrap them in this bubble in your mind/heart.

Every person in this series delivered PERFECTION. Elizabeth Olsen is superb.

Nathan

Great start to the Disney+ MCU TV Shows. Really different from the rest of the MCU in the structure of sitcoms and TV dramas. The episodic nature really brought fun fan theories and conjecture to the show week after week that really made the show way more enjoyable as a fan. Great set up for the Dr. Strange and the Multiverse of Madness.

**Verdict:** _Great_

Calcium

_WandaVision_ is a fairly standard MCU entry disguised as a unique MCU entry, and its biggest problem is a lack of commitment to the bit. The eerie set-up of an idealistic, suburban rom com used as a false life for Wanda to live is genius(!!) and deserves **so** much better than being knocked to the curb by the final few episodes in exchange for more bland concepts. The scattered focus with all the characters means that not one idea really gets as much development as you would hope, which is especially prevalent once the whole thing wraps up. By the time you really get a grasp of the true extent of Wanda's struggle, you're pretty much at the final episode, and the established style through TV shows of the era is absent.

It's too bad, because I didn't really dislike any of the plot threads either, they just sort of come and go? I think Darcy Lewis adds plenty to the series, but there needed to be more of her to prevent her from just seeming like a front for a boatload of exposition. Jimmy Woo is **always** a treat, but I don't know why his run-in with the "surprise" antagonist was made out to be as big a deal as it was when it's really only a temporary inconvenience that adds nothing to anything?

Wanda's entanglements go all over the place, from memories of her husband, her brother, to even her desire for kids. It's a lot to tackle, and I just don't think the writers stuck the landing. The measures Wanda takes for sake of conformity and repression of her past were such strong themes that for a second I thought the series was going to commit to making her the antagonist, which would've been a cool inversion of the hero in comparison to where she was before. This angle could've also helped emphasize the true damage that can come from acting on your grief with no rhyme or reason. The bittersweet peaks of the show between the two title characters are powerful when done right, and sometimes even made me want to bat an 8/10 for the show. Unfortunately, everything I mentioned with Wanda is scrapped for another surprise twist villain instead, and the finale just turns into every Marvel fight ever, so no, the show did not end up meeting its own goals.

Overall a kind of cool experience, but I already can't remember half the characters or episodes, so I don't think this will be sticking with me for very long.

I'm really happy the MCU is transitioning into TV shows for what that's worth.

So many missed opportunities in this series makes for a disappointing watch, although the series does end on a higher note.  

The premise is sound - a powerful mutant (oh, we're not allowed to use that word) - sorry, witch, is grieving for her love and reverts to what she thinks is the idealised family - based on TV sitcoms.  Here you could do so much - an episode per decade (nup, some are randomly skipped), add in creepy themes (this is started, but never really done well), expound on the puppet-master theme, explore grieving, or having a family as a Supe, or trying to be normal. You could mash up the Truman Show with Pleasantville and the Incredibles with a touch of the Stepford Wives (and even have them caused by the antagonist of the series to either try to gain a friend, or to unnerve and outdo Wanda - seriously, is the antagonist just evil with no human desires?).  But we got this average slump of a series which wants to be more...a whole lot more.

Plusses - Olsen and Bettany are on form and seem to relish the increased screen time for the characters - their magic show is a highlight of the droll early episodes.  The minor cast are great too with Caulfield and Hahn being highlights.  Remarkably, Dennings is held back which (compared to her last showing in the Dark World) we are all thankful for.  And the set design and score are masterful showing true homage to the shows that came before.  

Negatives - Besides the aforementioned lost opportunities, there is an added plot about the military which was not needed (could have just had this set in Wanda's head and expounded more on the creepiness of this concept).  Canned laughter is over used to the extreme - none of the shows referenced used it that much, and this is not even a plot point to signify that something is wrong with the world.  Characters appear and disappear and are not followed up on,  nor is there explanation given as to why (eg Quicksilver).  And consequences have no place here.  

In such a hyped up show, I was expecting more than this droll output which fails to shine despite the best intentions of Bettany, Olsen and the cast.  

My hopes for something outstandingly creepy or scary from the next Dr Strange movie are now definitely lessened.

Manuel São Bento

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

Original Review
(based on the season’s first three episodes handed to press)

Marvel delivered an unprecedentedly successful superhero universe that culminated in the record-breaking Avengers: Endgame (Spider-Man: Far from Home is actually the last movie of the Infinity Saga, but let’s ignore that). With the first overarching story ending after twenty-three films, the MCU now begins a new Era. Basically, Phase Four is truly another Phase One, where viewers will meet new heroes to root for. However, there are dozens of Avengers still in the game, including the astonishingly powerful Wanda. 

Television will play a massive role in the upcoming saga, with miniseries starring key superheroes having a significant impact in the movies. Obviously, this raises the question: do viewers need to watch the TV shows in order to understand and follow the films? I believe so. Some series might not have as much impact as others, but WandaVision will undoubtedly affect Wanda’s path in the MCU. From being one of the most powerful Avengers to the possibility of Wanda being the next big villain, this character has limitless potential. In addition to this, Elizabeth Olsen is arguably one of the best actresses in the franchise, and honestly, of her entire generation.

Therefore, even though I always try to keep my expectations as moderate as possible, I couldn’t help but feel extremely hyped for WandaVision. The series is as weird and mysterious as I expected it to be. In the first three episodes, the viewer is placed inside a black-and-white sitcom, where it becomes super clear that everything that’s happening is occurring inside Wanda’s own reality or something similar that she’s definitely responsible for. Having in mind what happened to Vision in his last movie, it seems that this series will heavily deal with sensitive matters, such as grief, depression, and unhealthy escapism. However, these first episodes are pretty much set in following the comedy route.

Boasting tons of references to the respective period of classic television, WandaVision is much more hilarious than I ever anticipated it to be. Several seemingly easy yet efficient jokes about Wanda and Vision’s powers and their nature are the ones that bring out the most generous laughter (impeccable writing from Jac Schaeffer). In this regard, I have to praise Kathryn Hahn (Agnes), whose performance as the “nosy neighbor” is wonderfully funny. Teyonah Parris doesn’t really interpret her real character yet (Monica Rambeau), but her display is rather interesting. The rest of the cast is pretty good, but it all comes down to Elizabeth Olsen and Paul Bettany, who are beautifully charming and amusing together.

Their chemistry is even more palpable now that they’re the protagonists of their own story. It’s a strange feeling watching Bettany portray Vision again, but his terrific performance comes to demonstrate that the viewer’s connection with the character is as humanly compelling as any other. However, Olsen is the real star of the show. I admit that I might be a bit biased since she is one of my favorite actresses working today, but Olsen proves why she’s worthy of bigger roles in Hollywood outside of the MCU. An unbelievable emotional range, excellent comedic timing, exquisite expressiveness, and an impressive capability of drastically and quickly changing styles. An Emmy nomination wouldn’t be surprising.

The main storyline revolves around Wanda’s apparently ideal life with Vision. How? That is the intriguing mystery, which exponentially receives more clues after each episode. A certain symbol points to an organization that will undoubtedly make Marvel fans scream with excitement, right from the very first episode (if you look closely, you’ll find it). This is the first MCU content since July 2019, so the stakes are inevitably high as Matt Shakman must fulfill the mission of bringing back the enthusiasm for the respective universe. Shakman and Schaeffer employ weirdness and unconventional storytelling that transform the series into an extremely captivating story, even though the main answer for what’s happening seems quite clear.

Technically, Christophe Beck’s score is the standout. From the timely sound effects of classic television to specific songs that play during certain moments, Beck delivers a score that elevates the overall show. The opening credits are unique and always different, referencing various Eras of television (shoutout to Robert Lopez and Kristen Anderson-Lopez for composing the theme music). As for the rest, terrific editing from Tim Roche, Nona Khodai, and Zene Baker. The visual effects look seamless even in black-and-white, and Jess Hall’s cinematography cleverly resembles sitcoms attributes. Outstanding production design (Mark Worthington) as well.

All in all, after only three episodes, WandaVision proves to be as weird, mysterious, and exceptionally captivating as it intends to be. Matt Shakman and Jac Schaeffer deliver a surprisingly hilarious show with just the right amount of hints to what’s truly happening. Even though the global answer seems rather predictable, creative storytelling builds an atmosphere of uncertainty and puzzling doubts that will leave viewers craving for the next episode. From the gorgeous black-and-white to Christophe Beck’s brilliant score, Wanda and Vision’s apparently ideal life is surrounded by technical attributes that pay homage to the Era of classic television. Paul Bettany, Teyonah Parris, and Kathryn Hahn are all fantastic, but Elizabeth Olsen is the indisputable star, showing her undeniable acting talent that might very well earn her an Emmy nod. As the first MCU content in more than a year, WandaVision conquered my full attention for the remaining episodes, which surely hold impactful revelations. It’s still unclear the real influence it will have in the films’ realm, but I can only assume it’s significant. Do not miss it!

Post-Finale Review
(based on the remaining episodes and the entire season) 

The following six episodes couldn't be better. The decade-spanning homage to sitcoms continues, but it exponentially decreases its attempts at humor and silly slapstick. As expected, a much more dramatic, emotional storyline takes hold of the narrative, each episode coming closer to give the viewers answers to the dozens of questions raised by the previous episodes. A few more puzzles arise with the introduction/revelation of characters who will definitely leave the audience incredibly excited, but it's the focus on Wanda's feelings that ultimately elevates this miniseries to some of the best content in the genre of superheroes.

The study of Wanda's grief and what she did to deal with the loss of the ones she loved the most is by far the most mysteriously fascinating aspect of the entire show. Even though most of Wanda's actions seem quite predictable from the get-go - especially in a non-detailed perspective - the storytelling choices and paths that Matt Shakman and the team of screenwriters come up with are quite imaginative. Every single viewer will remember a specific sentence forever since it's so powerful that it can even work as a healing mechanism to many people going through pain similar to Wanda's. Brilliant writing, from the pilot to the finale.

One massive advantage of one-season series is their immunity to ridiculously illogical, absurd fan theories and social media pressure, simply because it's already finished before the first episodes airs, so there's no way of the show getting influenced by the public's opinion. It's fun to theorize with friends and attempt to figure out what's truly happening, but when it reaches the levels of excessive fanboyism, it becomes dangerously annoying and hurtful to fans themselves. People create the most ludicrous theories surrounding characters and storylines based on incredibly ambiguous and subjective "clues" that are far from being remotely significant. Consequently, irrealistic expectations lead many of these fans to an impending letdown once the finale comes around.

Fortunately, I stayed sane and kept my expectations grounded, waiting patiently for the show to amaze me. The finale is a near-perfect ending to an utterly impressive series that will impact the future of the upcoming MCU series. Many viewers - mainly hardcore fans - will find it disappointing due to the inevitable dismissal of hyped theories, but overall, WandaVision will end up as a positive experience for a significant majority. I really only have minor issues with a particular episode where the overwhelming fan-service risks the logic of its presence, Josh Stamberg's annoyingly cliche character, and a certain outcome left a bit too vague for the series finale.

WandaVision is truly some of the best content ever seen in the genre of superheroes. From the mysteriously unconventional storytelling that never ceased to be incredibly captivating to the beautiful homage to decade-defining sitcoms, Jac Schaeffer and Matt Shakman approach grief and the different ways people handle it in an undoubtedly impactful manner. Despite the main narrative following a predictable path, the theory-inducing side stories and secondary characters throw the audience in loops of constant doubt, ultimately generating a surreal amount of hype for the next episode. The series never loses focus of its emotional core, which is connected to one of the greatest pros of one-season shows: these can't be influenced by absurd fan theories and online pressure. Both Elizabeth Olsen and Wanda prove they're part of the strongest members of the MCU, with the actress delivering an Emmy-worthy performance (shockingly outstanding range) and the character showing her true power prompted by her solitude and persevering love. Paul Bettany, Teyonah Parris, and Kathryn Hahn are magnificent as well, but in the end, it was Wanda's show all along.

Rating: A

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

(Based on the season’s first three episodes handed to press)

Marvel delivered an unprecedentedly successful superhero universe that culminated in the record-breaking Avengers: Endgame (Spider-Man: Far from Home is actually the last movie of the Infinity Saga, but let’s ignore that). With the first overarching story ending after twenty-three films, the MCU now begins a new Era. Basically, Phase Four is truly another Phase One, where viewers will meet new heroes to root for. However, there are dozens of Avengers still in the game, including the astonishingly powerful Wanda. 

Television will play a massive role in the upcoming saga, with miniseries starring key superheroes having a significant impact in the movies. Obviously, this raises the question: do viewers need to watch the TV shows in order to understand and follow the films? I believe so. Some series might not have as much impact as others, but WandaVision will undoubtedly affect Wanda’s path in the MCU. From being one of the most powerful Avengers to the possibility of Wanda being the next big villain, this character has limitless potential. In addition to this, Elizabeth Olsen is arguably one of the best actresses in the franchise, and honestly, of her entire generation.

Therefore, even though I always try to keep my expectations as moderate as possible, I couldn’t help but feel extremely hyped for WandaVision. The series is as weird and mysterious as I expected it to be. In the first three episodes, the viewer is placed inside a black-and-white sitcom, where it becomes super clear that everything that’s happening is occurring inside Wanda’s own mind or something similar that she’s definitely responsible for. Having in mind what happened to Vision in his last movie, it seems that this series will heavily deal with sensitive matters, such as grief, depression, and unhealthy escapism. However, these first episodes are pretty much set in following the comedy route.

Boasting tons of references to the respective period of classic television, WandaVision is much more hilarious than I ever anticipated it to be. Several seemingly easy yet efficient jokes about Wanda and Vision’s powers and their nature are the ones that bring out the most generous laughter (impeccable writing from Jac Schaeffer). In this regard, I have to praise Kathryn Hahn (Agnes), whose performance as the “nosy neighbor” is wonderfully funny. Teyonah Parris doesn’t really interpret her real character yet (Monica Rambeau), but her display is rather interesting. The rest of the cast is pretty good, but it all comes down to Elizabeth Olsen and Paul Bettany, who are beautifully charming and amusing together.

Their chemistry is even more palpable now that they’re the protagonists of their own story. It’s a strange feeling watching Bettany portray Vision again, but his terrific performance comes to demonstrate that the viewer’s connection with the character is as humanly compelling as any other. However, Olsen is the real star of the show. I admit that I might be a bit biased since she is one of my favorite actresses working today, but Olsen proves why she’s worthy of bigger roles in Hollywood outside of the MCU. An unbelievable emotional range, excellent comedic timing, exquisite expressiveness, and an impressive capability of drastically and quickly changing styles. An Emmy nomination wouldn’t be surprising.

The main storyline revolves around Wanda’s apparently ideal life with Vision. How? That is the intriguing mystery, which exponentially receives more clues after each episode. A certain symbol points to an organization that will undoubtedly make Marvel fans scream with excitement, right from the very first episode (if you look closely, you’ll find it). This is the first MCU content since July 2019, so the stakes are inevitably high as Matt Shakman must fulfill the mission of bringing back the enthusiasm for the respective universe. Shakman and Schaeffer employ weirdness and unconventional storytelling that transform the series into an extremely captivating story, even though the main answer for what’s happening seems quite clear.

Technically, Christophe Beck’s score is the standout. From the timely sound effects of classic television to specific songs that play during certain moments, Beck delivers a score that elevates the overall show. The opening credits are unique and always different, referencing various Eras of television (shoutout to Robert Lopez and Kristen Anderson-Lopez for composing the theme music). As for the rest, terrific editing from Tim Roche, Nona Khodai, and Zene Baker. The visual effects look seamless even in black-and-white, and Jess Hall’s cinematography cleverly resembles sitcoms attributes. Outstanding production design (Mark Worthington) as well.

All in all, after only three episodes, WandaVision proves to be as weird, mysterious, and exceptionally captivating as it intends to be. Matt Shakman and Jac Schaeffer deliver a surprisingly hilarious show with just the right amount of hints to what’s truly happening. Even though the global answer seems rather predictable, creative storytelling builds an atmosphere of uncertainty and puzzling doubts that will leave viewers craving for the next episode. From the gorgeous black-and-white to Christophe Beck’s brilliant score, Wanda and Vision’s apparently ideal life is surrounded by technical attributes that pay homage to the Era of classic television. Paul Bettany, Teyonah Parris, and Kathryn Hahn are all fantastic, but Elizabeth Olsen is the indisputable star, showing her undeniable acting talent that might very well earn her an Emmy nod. As the first MCU content in more than a year, WandaVision conquered my full attention for the remaining episodes, which surely hold impactful revelations. It’s still unclear the real influence it will have in the films’ realm, but I can only assume it’s significant. Do not miss it!

(Season’s rating only after its finale)

WandaVision

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