SPOILERS WITHIN.

I’ll be discussing the show solely in the context of the MCU. This means I won’t refer to organisations, characters or events which may give context but which you’d only know if you’ve read the comics.

Growing up in Westview…

Ooof. This episode is dark and unexpectedly moving. It’s also the first episode to really, seriously, impress me. If you’ve read my reviews of episodes 1-4 then you’ll know I’ve admired its competency, the show’s tight writing and how it’s tied into the wider MCU but I’ve been underwhelmed by several aspects – hoping they were playing into something deeper and, potentially, heart breaking. Not that I’m rooting for heart break but I was thinking through how those elements of manipulation and illusion might have come about, how they might be explained and, most importantly, what their relevance was.

It’s a testament to the quiet building of Wanda and Vision’s relationship that the grief in this episode hit hard and felt deeply poignant, that this development was then foregrounded and used to drive the rest of the story. I’m grateful because it presents really interesting and mature explorations of sadness, grief and loss without mawkishness – no matter how much Wanda would prefer to hide from what she’s feeling.

Olsen and Bettany deliver superb performances – code switching depending on which era they’re in but also exhibiting real depth of feeling toward one another as their relationship is put under strain by the gap in knowledge pushing them apart. There will be (and I’m sure already are) Reddit and YouTube theories coming out of your ears about the plot, the signs and the portents. While Easter eggs and plot points are fascinating it’s this emotional depth which provides a hook from which I can’t now walk away.

There’s still no answer as to why the area’s a hex and no answer as to why it’s in sitcom format but certain other elements are starting to resolve.

It seems clear Wanda didn’t create Westview. It seems clear she didn’t start whatever is happening despite indications to the contrary. When Vision expresses doubt over her truth telling, we as the audience are invited to agree with him. Yet something else is going on. Looking back we see Wanda wasn’t always aware she was in a sitcom. Nor were the town’s inhabitants, but somehow they’re all now playing it as if they’re actors on the show. In her repeated assertions that she’s in control, Wanda reveals she knows something else is at play, something driving them forward, something driving the format. Wanda may be the star but she’s not the director. If so then who are they and what do they want? Perhaps as importantly, just what kind of being can resurrect the dead and alter the world according to people’s wishes?

Additionally, what about Vision? His fidelity appears 100%. Vision appears to be exactly who he was in life, yet the show has made it abundantly clear he is dead. The way this is played, together with how he discovers something is really wrong was reminiscent of the Midwich Cuckoos or the Stepford Wives – chilling and unsettling in equal measure.

There’s a point where Vision confronts Wanda and she refuses to be honest, refuses even to discuss the subject and when he objects, when he insists on being his own person she flatly stares him down and threatens everything he is. She admits she’s not really in charge, that she isn’t responsible for their predicament but she won’t walk away and is prepared to damage exactly that she wants to protect – as an exploration of the breakdown grief can force upon us it is brilliant.

The weakest part of the show was taking place outside of the town among the SWORD agents who behaved like they’d never actually trained in conflict resolution, de-escalation or managing a superior force. It was a painfully dumb moment which tried to create artificial tension and, for me, failed.

And we’ve still got the sexism on screen and unexamined. Both of these elements drew me out of the episode and, honestly, the absolute strongest part of this show remains Wanda and Vision on screen being a couple – loving, struggling and in conflict.

There are more call backs to Age of Ultron and Civil War and a gentle but delicious reminder that the only two people to seriously throw down Thanos were Captain Marvel and Wanda.

There’re hints that Maria Rambeau has been permanently altered by Wanda as well – but more on that to come I suspect.

Verdict: The vision for the show (excuse the pun) is becoming clearer and for that I’m glad. It remains the case for me that the first four episodes don’t work in their presented structure and delivery but regardless of that they’ve laid the groundwork for real emotional depth and I’m excited to see where we go from here.

Rating? 9 babies out of 10.

Stewart Hotston