Back in March 2021, one year on from the onset of Covid, yet still deep into lockdown, the opening move of Marvel’s phase 4 graced our screens for 9 very interesting episodes. There had been some cryptic teasers around since before Christmas, hinting at the show being some sort of 50s sitcom pastiche. The why and wherefore of that choice was left-field enough to indeed pique a lot of curiosity, as well as confirm their was still a huge lust for superhero content post Endgame.
The intrigue became true mystery into January. A masterful tactic from the Disney and Marvel studios to choose this daring and risky route back into a universe that would begin to explore where our favourite characters were after the cataclysmic events of phase 3. Two episodes in and things were so strange and ambiguous that it might be assumed the 7 main writers responsible for this oddity had lost their minds. Millions of fans, myself included, were being led into watching a black and white parody of 50s and 60s Americana… Why? The clues existed only obliquely until the very final seconds of ep.2.
Wanda and Vision seemed to be existing within their own mental breakdown; trapped in a loop of uncertain origin or meaning. Of course, we knew that only Wanda survived the events of Endgame, so what was Vision doing there at all? The unfolding of the truth and the method behind the madness was an often thrilling, never less than entertaining ride. Somewhere around episode six, we finally had enough information to realise that some fine invention had taken place in demonstrating Wanda Miximov’s state of being and intent for the future. It was opening wide a tantalising path into the possibilities of new stories and new adventures. A very smart move.
Other Disney based shows had been announced, one for the Falcon and Winter Soldier and one for Loki. As Spiderman had already had one more outing on the big screen, it was a welcome time to explore some of the minor characters down the line, who deserved more time and attention – especially the ones played by interesting actors who would now be given more scope to shine on the smaller screen.
Therefore, it was evident that this was Elizabeth Olsen’s show. Paul Bettany was delivering some fine moments also, but the focus was on exhibiting her range and talents and to highlight how much we actually liked and enjoyed watching this character. I have to say, she was always one of the more interesting female heroes, and I really didn’t need too much convincing to watch a whole season of her. I found the entire show entertaining, intriguing, creative, and wonderfully rich in design and quality.
Indeed, rumour has it that as of 2021, it was the most expensive TV series ever made, and you can really see every dollar on the screen. A joy and a gift made for hi-res home viewers. Was it absolutely everything we wanted for the continuation of such an epic franchise? Perhaps not everything – but close and very encouraging for the next sequence of releases: just as colourful and vivid as we needed it to be. The only irony is how much this opinion would turn depressing when, over the next two years, the disappointments and grievances towards Disney’s productions came to the surface.
Obviously, my backlog of reviews is now significant (some two and a half years), deeply into lockdown memories. I have moved on quite a bit since then, and much has changed. The time to re-watch this show for new insights is ripe. Especially following Doctor Strange and the Multiverse of Madness, which I seemed to enjoy much more than the average fan. It is gratifying that I want to do that without it feeling like a chore. If all of Marvel’s output had stayed at this level of quality, it wouldn’t be a question at all. Yet many fans think the peak was far too soon and that this was it – not a promise of great things to come, as much as an indicator of the beginning of the end. I believe we need further evidence and context before we can conclude either way.
Until then, why not enjoy this for what it was – a joyously inventive vehicle for Olsen to shine and for some unused ideas to get some airtime.
Rating: 8/10
The Wasteland 