{"id":10245,"date":"2021-01-16T08:49:04","date_gmt":"2021-01-16T14:49:04","guid":{"rendered":"http:\/\/tvmeg.com\/?p=10245"},"modified":"2021-04-18T14:41:13","modified_gmt":"2021-04-18T19:41:13","slug":"wandavision","status":"publish","type":"post","link":"https:\/\/tvmeg.com\/index.php\/2021\/01\/16\/wandavision\/","title":{"rendered":"Primetime TV Review: &#8220;WandaVision&#8221;"},"content":{"rendered":"<h3><strong>TV Review!<\/strong><\/h3>\n<script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<!-- TVMEGBODY -->\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-client=\"ca-pub-1056557952271337\"\r\n     data-ad-slot=\"8801203268\"\r\n     data-ad-format=\"auto\"\r\n     data-full-width-responsive=\"true\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-10239\" src=\"https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision1.jpg\" alt=\"Elizabeth Olsen (Wanda) and Paul Bettany (Vision) in &quot;WandaVision&quot; on Disney+\" width=\"450\" height=\"250\" srcset=\"https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision1.jpg 630w, https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision1-300x167.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><\/p>\n<p><strong>&#8220;Wanda\/Vision&#8221; on Disney+ Review by <a href=\"https:\/\/tvmeg.com\/index.php\/2020\/06\/13\/biosuzanne\/\">Suzanne<\/a> 1\/16\/21<\/strong><\/p>\n<p>This is a very weird show. The two stars of this series (Elizabeth Olsen and Paul Bettany), and their characters, were in the Avengers&#8217; movies as superheroes The Scarlet Witch and Vision. If you haven&#8217;t seen those films, you might not understand what&#8217;s going on. However, the rest of it is a mystery to all of us. They dropped the first two episodes today.\u00a0 Clearly something strange is going on. Wanda and Vision are trapped as husband and wife in a 1950&#8217;s or 1960&#8217;s-style TV show. They know who they are, and they have their powers, but they don&#8217;t have much memory of what happened before this, or how they got there.\u00a0 They did something similar in an episode of &#8220;<a href=\"http:\/\/tvmegasite.net\/prime\/shows\/supernatural\/\">Supernatural<\/a>,&#8221; but I think this is going to turn out to be very different from that.<\/p>\n<p>They do a great spoof of the old shows, like &#8220;The Dick Van Dyke Show,&#8221; &#8220;The Honeymooners,&#8221; &#8220;I Love Lucy,&#8221; and Bewitched.\u00a0 I can&#8217;t wait to see more. In the first episode, Vision and Wanda can&#8217;t remember why there&#8217;s a heart on their calendar for some special day. She thinks it must be some anniversary, so she gets ready for that, with the help of her nosy-next-door neighbor, Agnes (Kathryn Hahn). Meanwhile, at his work, Vision learns that today is the day that his boss and the boss&#8217; wife are expected for dinner. He calls Wanda to warn her, but in a typical situation comedy misunderstanding, it doesn&#8217;t help.\u00a0 They have a very funny dinner, but it turns weird. In the next episode, they get involved with neighborhood watch as well as doing a magic act to raise money &#8220;for the children&#8221; (this phrase is repeated by everyone in a monotone that reminds one of a cult).<\/p>\n<p>Besides the sitcom stories, Wanda and Vision get glimpses that something is not right. Vision computes figures at his job, but no one can tell him what their company actually does. Vision&#8217;s boss chokes at dinner, and his wife doesn&#8217;t act normal as he&#8217;s choking. She just keeps saying, &#8220;stop that.&#8221;\u00a0 Finally, Wanda tells Vision to save him (I guess neither of them know CPR), so he uses his powers to reach into the man&#8217;s throat and take out the food that he&#8217;s choking on.\u00a0 The boss and his wife don&#8217;t act like anything unusual happened.\u00a0 Wanda notices some strange things going on in the second episode when a voice seems to be asking her, through a radio, what happened to her. Also, in their black-and-white world, she sees a red toy helicopter out in their bushes.\u00a0 Some other strange things happen as well. I don&#8217;t want to give too much away. The second episode ended with something pretty cool happening.<\/p>\n<p>What makes this show great is the chemistry between Wanda and Vision, and their comic timing; the production&#8217;s attention to detail also makes it work.\u00a0 Since they&#8217;re in a sitcom, it is funny &#8211; funnier than the actual shows were back then.\u00a0 There&#8217;s always an edge to what they&#8217;re saying, though, because everything is just a little off.<\/p>\n<p>What we&#8217;re dying to know is how they got there and where they are. Are they in Wanda&#8217;s head? Is Vision dead (since he died in the movies)? Has he come back to life, or did this happen in the past, before he died? Are the other people really people?\u00a0 Of course, the big question is: who&#8217;s behind this?<\/p>\n<p>I look forward to the rest of the episodes&#8230;.there are only 9 this season. If you like superheroes, or good fantasy, you should definitely check this out.<\/p>\n<p>MORE INFORMATION:<\/p>\n<p>Marvel Studios presents \u201cWandaVision,\u201d a blend of classic television and the Marvel Cinematic Universe in which Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) \u2013 two super-powered beings living idealized suburban lives \u2013 begin to suspect that everything is not as it seems. The new series is directed by Matt Shakman; Jac Schaeffer is head writer.<\/p>\n<p>Fact Sheet: Synopsis:Marvel Studios presents \u201cWandaVision,\u201d The new series debuts exclusively on Disney+ beginning January 15, 2021.Title:\u201cWandaVision\u201dCategory:Original live-action series U.S. Premiere:January 15, 2021Cast:Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Kat Dennings, Randall Park Directed by:Matt Shakman Head Writer:Jac SchaefferProduction Company:Marvel StudiosSocial Media:Twitter: @WandaVision, @DisneyPlusFacebook: @WandaVisionOfficial, @DisneyPlusInstagram: @MarvelStudios, @DisneyPlusHashtag:#WandaVision, #DisneyPlus<\/p>\n<p>Production Info:<\/p>\n<div class=\"page\" data-page-number=\"1\" data-loaded=\"true\">\n<h1>PRODUCTION BRIEF<\/h1>\n<p>&nbsp;<\/p>\n<p>Marvel Studios presents \u201cWandaVision,\u201d a blend of classic television and the Marvel Cinematic Universe in which Wanda Maximoff and Vision\u2014two super-powered beings living idealized suburban lives\u2014begin to suspect that everything is not as it seems. \u201c\u2018WandaVision\u2019 will be the very first Marvel Studios series on Disney+,\u201d says Kevin Feige, president, Marvel Studios and chief creative officer, Marvel. \u201cWanda and Vision are two of our most powerful and complex heroes, and this series is a perfect expansion point for MCU storytelling.\u201d<\/p>\n<p>The series not only marks the first Marvel Studios\u2019 Disney+ series, it is its first journey into the world of sitcoms\u2014with an MCU twist. \u201cIt\u2019s a mash-up of classic sitcoms and large-scale Marvel action,\u201d says Matt Shakman, who directs all nine episodes. \u201cI think it\u2019s really lovely that the first streaming show from Marvel Studios\u2014producer of huge blockbuster films\u2014is really a love letter to the history of television.\u201d<\/p>\n<p>According to head writer Jac Schaeffer, \u201cWandaVision\u201d is funny, mysterious and action- packed. \u201cIt picks up shortly after \u2018Avengers: Endgame,\u2019\u201d she says. \u201cMarvel fans have never seen Wanda and Vision in this way before. Their storyline has been so romantic and tragic\u2014fans have really latched onto it. But really, it\u2019s been precious little screen time, and it\u2019s all been very fraught. In this show, we get to see them in a domestic light, and it gets to breathe. It\u2019s really beautiful.<\/p>\n<p>\u201cIn the first episode we meet Wanda and Vision after they\u2019ve just been married,\u201d continues Schaeffer. \u201cThey\u2019re driving into this new town with \u2018just married\u2019 on the back of their cute little car. It\u2019s 1950s, black and white, they\u2019re absolutely adorable. They\u2019re madly in love, and there is not a hint of the Avengers or the larger MCU. We see them going about their day, making breakfast. She\u2019s a witch, he\u2019s synthezoid. She can dry dishes in the air. He can change density and walk through things.\u201d<\/p>\n<p>Says Shakman, \u201cWanda and Vision are just starting their married life together in this new town, and they&#8217;re meeting their neighbors. Vision&#8217;s starting to work at his new job while Wanda navigates life at home. They&#8217;re concerned about hiding their powers from their new friends and neighbors, and when they&#8217;re pushed for more information about where they came from, they&#8217;re stumped. That&#8217;s when we start to realize that things are not quite what they seem.\u201d<\/p>\n<p>With nine episodes, the series was created much like a motion picture would be\u2014but more extensive, allowing first-of-its-kind exploration of the relationship between Wanda and Vision. Says co-executive producer Mary Livanos, \u201cElizabeth Olsen and Paul Bettany have the opportunity to flex different muscles over the course of this series that usually an actor wouldn\u2019t get to do within the scope of a single project.\u201d<\/p>\n<p>Olsen, who has portrayed Wanda since the character\u2019s post-credits debut in Marvel Studios\u2019 2014 feature film \u201cCaptain America: The Winter Soldier,\u201d returns to her signature role\u2014taking it in a curious new direction. \u201cPaul and I get to discover at a much deeper level who these characters are,\u201d she says. \u201cWanda and Vision have always had an unspoken and inherent connection since \u2018Ultron.\u2019 \u201cThe infinity stone is such a huge part of their intrinsic connection and understanding of one another. I think just like any great love story, there is a strong energy that attracts both of them to one another. In \u2018WandaVision,\u2019 we watch them experience a domesticated lifestyle for the first time, or as domesticated as possible for them. We watch them experience the joys and complications of parenting, while also overcoming secrecy and distrust, but always coming together in the end with the common bond, respect and unconditional love for one another.\u201d<\/p>\n<p>Bettany, whose voice made his debut in the MCU as J.A.R.V.I.S. in \u201cIron Man,\u201d first appeared on screen as Vision in \u201cAvengers: Age of Ultron.\u201d The actor says he first heard about \u201cWandaVision\u201d during a visit to Marvel Studios. \u201cI went in, and much to my surprise, they pitched this idea for a show that is an homage to American sitcoms,\u201d he says. \u201cIt\u2019s a beautiful little puzzle box that you begin to open. As mad and chaotic as the trailer looks, everything has a reason. There are layers upon layers.\u201d<\/p>\n<p>\u201cWandaVision\u201d stars Elizabeth Olsen as Wanda Maximoff, Paul Bettany as Vision, Teyonah Parris as Monica Rambeau, who was introduced to audiences in \u201cCaptain Marvel,\u201d and Kathryn Hahn as Agnes, the nosy neighbor. Randall Park will reprise his role as Jimmy Woo from \u201cAnt-Man and The Wasp,\u201d and Kat Dennings will reprise her role as Darcy from \u201cThor\u201d and \u201cThor: The Dark World.\u201d<\/p>\n<p>The series is directed by Matt Shakman (\u201cGame of Thrones,\u201d \u201cIt\u2019s Always Sunny in Philadelphia\u201d) with Jac Schaeffer (\u201cThe Hustle,\u201d \u201cOlaf\u2019s Frozen Adventure\u201d) as head writer. Executive producers are Kevin Feige, Louis D\u2019Esposito, Victoria Alonso, Shakman and Schaeffer, and co-executive producers are Mary Livanos and Trevor Waterson. Jess Hall, ASC, is director of photography, Mark Worthington is production designer, Mayes C. Rubeo is costume designer and Tara DeMarco is VFX supervisor. Composer is Christophe Beck, and theme (for certain episodes) is by Kristen Anderson- Lopez and Robert Lopez. \u201cWandaVision\u201d debuts on Disney+ on Jan. 15, 2021.<\/p>\n<h1><u>SITCOM SAVVY<\/u><\/h1>\n<p><strong>Filmmakers, Cast and Crew Go Back in Time to Capture Classic Sitcom Style<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Marvel Studios\u2019 foray into the world of the sitcom celebrates the genre in a big way. \u201cThe story imagines Wanda and Vision in a 1950s sitcom\u2014when the show opens, that\u2019s presented without explanation,\u201d says head writer Jac Schaeffer, who also contributed to the story of Marvel Studios\u2019 upcoming \u201cBlack Widow.\u201d \u201cWe see them move thorough the various eras of sitcoms as the series progresses.\u201d<\/p>\n<p>Director Matt Shakman, Primetime Emmy\u00ae nominee for his work on \u201cThe Great,\u201d came to the production with a unique background, having starred in shows like \u201cJust the Ten of Us\u201d and \u201cWebster\u201d as a child. \u201cIt was a unique challenge for me because I did spend my entire childhood as an actor around sitcoms,\u201d he says. \u201cI grew up on sitcom stages and backlots, and so this was a real trip down memory lane.\u201d<\/p>\n<p>The classic-sitcom approach offered exciting opportunities for humor and levity, but filmmakers were very serious about getting the genre right. Says Shakman, \u201cIt was really important to us from the get-go that we weren&#8217;t parodying sitcoms. We studied tone and style from era to era. We wanted to make sure the actors were really fluent in all of these different styles. So, we had a sitcom bootcamp with the cast before we began. We watched old episodes and we tried on different styles to figure out the physicality and the sound for each era.\u201d<\/p>\n<p>According to Elizabeth Olsen, there was a lot to learn. \u201cMatt led us through a sitcom crash course,\u201d she says. \u201cWe watched episodes from the specific shows we wanted to reference in each decade. And as I would any period piece, I worked on the vocal changes as well as the physical manners of the periods. There is also a really amazing arc in sitcoms throughout the decades that is a tug-o-war between earnestness and cynicism. I loved how Jac Schaeffer used these tonal shifts from decade to decade to directly affect Wanda&#8217;s emotional journey.\u201d<\/p>\n<p>Cast and crew studied classic sitcoms from the 1950s through the 2000s. \u201cWe wanted to make sure that what we were creating was absolutely faithful to the original touchstone shows,\u201d says Shakman. \u201cTo that end, we watched lots of episodes, read books about the making of those shows, and interviewed, whenever possible, people who had actually worked on those shows.<\/p>\n<p>\u201cI went to lunch with the great Dick Van Dyke and Kevin Feige before we started production on \u2018WandaVision,\u2019\u201d Shakman continues. \u201cThat was a lovely experience and a great way to hear how they approached production on his show, which was inspiration for our first episode.\u201d<\/p>\n<p>LIVE STUDIO AUDIENCE<\/p>\n<p>To achieve the desired authenticity, filmmakers decided to shoot the first episode in front of a live studio audience. The effort not only conjured genuine laughter, harkening back to classic sitcoms, it affected the performances. Says Shakman, \u201cIt&#8217;s amazing when you put actors in front of a live audience, how much that material jumps when the adrenaline, the excitement, the communication is happening between the actor and the audience. It elevates the material, and it becomes much more like a play. That was a huge part of what we captured in episode one\u2014that spark, that kind of lightening in a bottle.\u201d<\/p>\n<p>Paul Bettany most definitely felt that spark. \u201cYou can&#8217;t help yourself when there are people there\u2014you want them to hear it and laugh at it. It makes it all a little bigger. And that, I think, captured the style of the \u201950s. It was a brilliant decision.<\/p>\n<p>\u201cI was really nervous,\u201d Bettany continues. \u201cWe rehearsed it very thoroughly, and every member of the crew was dressed in [1950s] costumes. Everybody really got into the spirit of it. And then the audience came in, and we just went for it. We jumped into the abyss. I just loved it. I should&#8217;ve been on a sitcom all these years.\u201d<\/p>\n<p>TO BE CONTINUED\u2026<\/p>\n<p>As the episodes progress, so do the sitcom eras, which required a fresh approach with each episode\u2014including production design, costumes, cinematography and performances. \u201cThere aren&#8217;t many opportunities as an actor to explore as many genres and tones as we do in this series,\u201d says Olsen. \u201cIt was as much of a challenge as it was a joy. This Marvel story could only ever be told through the medium of television and that&#8217;s what makes it such a special piece of the MCU.\u201d<\/p>\n<h1><u>WELCOME TO THE NEIGHBORHOOD<\/u><\/h1>\n<p><strong>MCU Veterans Wanda and Vision Join New Characters<\/strong><\/p>\n<p>In Marvel Studios\u2019 \u201cWandaVision,\u201d two of the MCU\u2019s most intriguing characters are joined by other favorites, plus new characters\u2014some of whom will go on to appear in future features. Together with the filmmakers, the cast weaved together a mysterious and mesmerizing story. \u201cThey were all extraordinary, and they were all fabulous to work with,\u201d says director Matt Shakman of the cast. \u201cLizzie and Paul are just absolute gems, and I can&#8217;t wait for people to see what they\u2019re capable of. They changed tone and style sometimes three or four times a day\u2014from these heartbreaking, dramatic scenes to these incredibly goofy, comedic scenes\u2014and they pulled off everything so brilliantly.<\/p>\n<p>They took huge risks, and they never shied away from a challenge. They set the tone for everybody.\u201d<\/p>\n<p>\u201cThey&#8217;re both such funny actors,\u201d adds head writer Jac Schaeffer. \u201cThe physical comedy is really great, and they\u2019ve been studying the classic shows with the nuanced performance styles. They\u2019ve had to be like Swiss Army knife performers.\u201d<\/p>\n<p><u>WHO\u2019S WHO IN \u201cWANDAVISION\u201d<\/u><\/p>\n<p>WANDA MAXIMOFF and Vision say goodbye to city strife, and settle into a quiet suburban life in their new hometown of Westview. Try as Wanda may to fit in and conceal her powers from neighbors, merry domestic mishaps call this magical maven to action! With a magical wiggle of her fingers, is there anything she can\u2019t do, or conflict she can\u2019t resolve?<\/p>\n<p>According to director Matt Shakman, in terms of the MCU timeline, Wanda has just helped to defeat Thanos. \u201cThe world just keeps putting up obstacles for her, and she has all of this untapped power that she doesn&#8217;t fully understand,\u201d says Shakman. \u201cHer journey for this show is to come into her own. She\u2019s an incredibly powerful figure who\u2019s been manipulated and used over the years. This is her opportunity to rediscover herself, and at the same time, it\u2019s a brilliant love story.\u201d<\/p>\n<p>Elizabeth Olsen steps into the character\u2019s shoes once again, bringing with her six years of experience. \u201cI think more than anything, this show created an opportunity to expand upon what makes Wanda Wanda,\u201d says Olsen. \u201cShe is a deep-feeling person, yet in this show she tries to push that part of herself aside. So, it was more of a journey of allowing Wanda to break through the sitcom facade and accept the woman she is and the life she has led.\u201d<\/p>\n<p>Head writer Jac Schaeffer says Wanda has a simple desire. \u201cWhat she wants more than anything is to live happily with her husband in this community and to make friends and to be a part of the community.\u201d<\/p>\n<p>VISION lives happily alongside his wife Wanda Maximoff in the quiet suburb of Westview. Like Wanda, Vision endeavors to keep his powers under wraps, but the superpowered synthezoid has been known to slip. Though this domestic version of Vision is unlike any seen before, he remains as keenly aware of his unique existence as ever.<\/p>\n<p>Paul Bettany once again portrays Vision, who seems to have traded in his super responsibilities for a decidedly human gig. \u201cHe finds himself fully formed and in the 1950s,\u201d says Bettany. \u201cHis daily life is a nine-to-five, briefcase-hat-and-suit job.\u201d<\/p>\n<p>Shakman says Vision is one of the MCU\u2019s most compelling characters. \u201cVision is this AI who is half human and half robot,\u201d says Shakman. \u201cAnd yet, he&#8217;s more human than any of us.\u201d<\/p>\n<p>Bettany agrees. \u201cEven from his days as J.A.R.V.I.S., he\u2019s always been becoming,\u201d Bettany says. \u201cVision was born this omnipotent, na\u00efve android, which is a weird combination, and he has always been growing and becoming\u2014trying to understand what makes humans human, trying to understand love. This definitely feels like a culmination of that journey\u2014an ending in some ways, and frankly, a new beginning.\u201d<\/p>\n<p>MONICA RAMBEAU, the daughter of Carol Danver\u2019s best friend Maria, has always been like a niece to Carol who liked to call her \u201cLieutenant Trouble.\u201d At age 11, Monica helped Carol choose the colors for the suit she\u2019d ultimately wear as Captain Marvel.<\/p>\n<p>Today, Monica is all grown up, destined for her own adventures, obstacles, setbacks and discoveries.<\/p>\n<p>Teyonah Parris portrays Monica. \u201cI am a huge Marvel fan,\u201d she says. \u201cI first connected with Marvel after seeing \u2018Iron Man\u2019 for the first time. My current favorite title is \u2018Captain Marvel\u2019\u2014my character\u2019s origin! That film was great fun and amplified girl power.\u201d<\/p>\n<p>Parris, who will appear as Monica Rambeau in the upcoming feature \u201cCaptain Marvel 2,\u201d adds that filming the complex series has been a great introduction to the MCU. \u201cThere are a lot of moving parts to this production,\u201d she says. \u201cIt feels like we are making something epic\u2014and there are moments that are a nod to the amazing, iconic television shows from our past. The energy on set has been incredible\u2014from the cast to the crew. It\u2019s clear that we are making something special.\u201d<\/p>\n<p>AGNES is the brassy, nosy neighbor of Wanda and Vision. She\u2019s well-versed in all things suburban, happily giving Wanda a leg up in navigating the social pressures of Westview. A beloved extended member of the family, Agnes is never far away.<\/p>\n<p>\u201cEvery sitcom needs a nosy neighbor character,\u201d says Schaeffer. \u201cAgnes is fabulous and brassy and hilarious. She invites herself over and wants to know everything about Wanda. Of course, Wanda doesn\u2019t have the answers to any of the questions, but she\u2019s very charming in deflecting them. It\u2019s all in good fun and Wanda is relieved and excited to have a friend and an ally in this new town.\u201d<\/p>\n<p>Kathryn Hahn expertly fills Agnes\u2019 shoes, embracing the sitcom approach, the MCU and everything else. \u201cIt could not be more fun and delicious,\u201d she says. \u201cThe fact that I get to do all of this &#8211; with these actors, with Matt [Shakman], and play with all of these different characters &#8211; it&#8217;s a crazy dream that this is my way into this world. It&#8217;s bananas. And now with my kids, maybe I will have a little bit of cred! Not much yet, because I&#8217;m still a big old nerd to them, but maybe I will be a little bit cooler in their eyes after this comes out.\u201d<\/p>\n<p>\u201cKathryn Hahn can do anything,\u201d says Shakman. \u201cShe is a brilliant comedian and a phenomenal dramatic actor. Having her skillset there to go along with Paul, Lizzie and Teyonah Parris\u2014they are an exceptional ensemble.\u201d<\/p>\n<p>DARCY LEWIS and JIMMY WOO are an integral part of the complicated and mysterious story of \u201cWandaVision.\u201d According to Shakman, Darcy has come a long way since she was last seen in \u201cThor: The Dark World.\u201d \u201cShe&#8217;s gone on to become Dr. Darcy Lewis now,\u201d he says. \u201cSo, she\u2019s a real expert in her field.\u201d<\/p>\n<p>Joining Darcy in her latest quest is Jimmy Woo, who\u2019s the same diligent agent seen in \u201cAnt-Man and The Wasp.\u201d \u201cThey have a mystery to solve,\u201d says Schaeffer. \u201cThey have so many questions and no answers.\u201d<\/p>\n<p>Kat Dennings and Randall Park reprise their roles as Darcy Lewis and Jimmy Woo, respectively.<\/p>\n<h1><u>GETTING THE RIGHT LOOK<\/u><\/h1>\n<p><strong> Cinematography, Production Design, Costume Design and Visual Effects Work Together to Achieve Authenticity from Era to Era<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>\u201cWandaVision\u201d not only channels classic sitcoms, it aspired to capture specific eras throughout the series\u2014which meant a fresh approach to each episode when it came to cinematography, production design, costume design and visual effects.<\/p>\n<p>CINEMATOGRAPHY<\/p>\n<p>\u201cThe approach in essence was to study and absorb the references of each period, to distill their technical and aesthetic choices and then to selectively apply and to filter these within our own stylistic sensibility,\u201d says director of photography Jess Hall, ASC. \u201cThe objective is to create images that were in a sense truly post-modern, not simply an homage to the past. This is what the complex narrative of \u2018WandaVision\u2019 demanded.\u201d<\/p>\n<p>Hall utilized 47 different lenses to create seven different periods\u2014many custom modified to render specific period characteristics. \u201cFor the 1950s, I tested lenses of the actual period and then modified modern lenses to selectively render the characteristics that I liked\u2014it was never a case of simply copying what had been done before.\u201d<\/p>\n<p>In terms of lighting, Hall utilized a carefully crafted lighting style, as well as lighting instruments that were period appropriate. \u201cThis meant delving deep into the archives of several studio equipment houses to source equipment that has become almost obsolete,\u201d he says. \u201cThe 1950-1970s episodes are shot almost entirely with period tungsten lighting. LED lighting doesn&#8217;t make an appearance until the later episodes that are situated in the 2000s, which is in the correct time line for when this equipment entered the filmmaking vocabulary.\u201d<\/p>\n<p>Hall also studied and incorporated specific composition and camera movement to convey the various periods, adopting specific camera approaches to episodes, depending on what the period\u2019s sitcoms tended to utilize. \u201cHowever,\u201d he says, \u201cI like to think that \u2018WandaVision\u2019 has a unique quality and that in a certain sense its look is original, a visual synthesis that has transcended the cut and mix.\u201d<\/p>\n<p>PRODUCTION DESIGN<\/p>\n<p>\u201cWhat\u2019s really interesting was the fact that we\u2019re not just dealing with the different eras\u2014it\u2019s a sitcom,\u201d says production designer Mark Worthington. \u201cSo, what does that mean? The visual language and vocabulary of a sitcom are actually really specific and it changes radically between decades. \u2018I Love Lucy\u2019 had really simple little apartments that looked like theater sets. When you get to \u2018The Dick Van Dyke Show,\u2019 you&#8217;re starting to get really interesting period references and a little fun, modern design comes into it. \u2018The Brady Bunch\u2019 has \u201970s wild beautiful colors.\u201d<\/p>\n<p>According to Worthington, the idea of setting the story within traditionally lighthearted sitcoms adds to the mystery. \u201cWhat interested me about this story was that dichotomy, because these sitcoms are not just these fluffy things,\u201d he says. \u201cThey imply a much darker idea. It&#8217;s really beautiful.\u201d<\/p>\n<p>Worthington also had to consider the series\u2019 evolution from black-and-white to color.<\/p>\n<p>\u201cHalf of film history is in black and white,\u201d he says. \u201cSo, reentering this space has been interesting because we\u2019ve discovered some stuff about how colors work in a black-and- white space.\u201d<\/p>\n<p>COSTUME DESIGN<\/p>\n<p>Costume designer Mayes C. Rubeo ensured the cast wardrobe enhanced the authenticity of each episode. \u201cIt is rare to find a story that arcs through so many decades, without the characters aging,\u201d she says. \u201cJac [Schaeffer]\u2019s concept of the story, and the brilliant way that Matt directed each episode made the work so exciting.\u201d<\/p>\n<p>Rubeo says she has favorite costumes from every episode. \u201cThe suit Vision wears and the wedding dress we made for Wanda for the opening titles were my favorite creations from that episode,\u201d she says. \u201cThey were both made from scratch, and Paul loved the suit and tie so much he was sad it couldn\u2019t be used for the whole episode. Wanda\u2019s dress was a beautiful homage to Audrey Hepburn.\u201d<\/p>\n<p>As the series segued from black and white to color, Rubeo collaborated with the director of photography and production designer to ensure they achieved the perfect overall look. She describes the first three episodes as \u201cparticularly stunning,\u201d including a psychedelic 1970s print dress for Wanda in the third episode.<\/p>\n<p>\u201cI think part of the wonder of this show is the strong and fast change between eras and broadcasting styles,\u201d says Rubeo. \u201cThe sets, hair, make-up and costumes, as well as the photography, set the scene beautifully.\u201d<\/p>\n<p>VISUAL EFFECTS<\/p>\n<p>According to VFX supervisor Tara DeMarco, filmmakers studied practical effects and early days visual effects of television and film from each era. For the first three episodes, says DeMarco, \u201cwe used puppeteered props, practical film cuts and rewind effects.\u201d<\/p>\n<p>While filmmakers leaned into the effects used during the era that inspired the episodes\u2014technology that improved incrementally with each era\u2014they enhanced the look using today\u2019s tools. \u201cWe used contemporary technology to help remove the wires and smooth the cuts,\u201d says DeMarco, \u201cbut many of the effects were shot in-camera. We occasionally used CG to bolster the storytelling in a beat where we were missing a wire gag. For example, Wanda&#8217;s kitchen in the first episode is a blend of practical puppeteered floating objects and CG ones created later to fill out the scene.\u201d<\/p>\n<h1><u>\u201cWANDAVISION\u201d SITCOM STYLE TO INCLUDE ORIGINAL THEME SONGS<\/u><\/h1>\n<p><strong> Kristen Anderson-Lopez and Robert Lopez Behind Original Theme Songs with Original Score by Christophe Beck<\/strong><\/p>\n<p>\u201cWandaVision\u201d filmmakers\u2019 research and detailed examinations of sitcoms throughout television history yielded a common thread: theme songs. The nature and style of the songs changed over the years\u2014creating almost a calling card for each era. This signature enhanced the authenticity sought for \u201cWandaVision\u201d and its roots in classic sitcoms. Kristen Anderson-Lopez and Robert Lopez created unique theme songs for episodes spanning from the 1950s to the early 2000s, while Christophe Beck composed the score for the series.<\/p>\n<p>ORIGINAL SONGS<\/p>\n<p>\u201c\u2018WandaVision\u2019 is such a cool, strange, one-of-a-kind project,\u201d says Lopez. \u201cWhen the director, Matt Shakman\u2014an old friend from my college days\u2014pitched it to us, we didn\u2019t have to think about it. We loved the bright feeling of American sitcoms mixed with the deep sense of unease the story had, and it was a really inviting challenge to help set that tone. We also really related as a couple to the feeling of chaos Wanda and Vision go through\u2014trying to maintain a loving, happy family through an unyielding and constantly growing onslaught of problems.\u201d<\/p>\n<p>Adds Anderson-Lopez, \u201cI grew up in the \u201980s watching shows from every decade on the networks all day long. Episodes from \u2018I Love Lucy,\u2019 \u2018Brady Bunch\u2019 and \u2018Family Ties\u2019 shaped who I am and how I move through the world.\u201d<\/p>\n<p>Indeed, both consider themselves \u201ctotal TV addicts as kids,\u201d so they had already done much of the research in terms of creating identifiable themes for each era represented. The next step in their process was to find a way to tie the themes together. Says Lopez, \u201cOne thing we decided to do before writing anything was find a motif that would unify all the songs, since there were so many different styles and tunes. We found a four-note theme that would be kind of like the \u2018WandaVision\u2019 call-out, easily identifiable in some way in each song, that had to work with every style. Once we had that, everything flowed. It was honestly some of the most fun we\u2019ve ever had.\u201d<\/p>\n<p>For the first episode, says Anderson-Lopez, they wanted to evoke the dawn of television. \u201cWe wanted to have an optimistic group of voices singing jazzily\u2014though not too jazzily\u2014about the love between these two, and the main question of the first episode, whether two Avengers in love can pass for normal in a typical American suburb,\u201d she says. \u201cIt was a great chance to use words like \u2018gal\u2019 and \u2018hubby\u2019 that we just don\u2019t throw into modern songs anymore. We knew there would be a moment where Vision, carrying Wanda across the threshold, forgot to open the door and just phased through the wall, unexpectedly dropping her, so we put a big musical pratfall in the middle of the piece. It was fun to see how the team executed it.\u201d<\/p>\n<p>ORIGINAL SCORE<\/p>\n<p>Christophe Beck was called on to compose unique scores for all nine episodes. \u201cFor each era, the music is a loving homage to the sitcom scores typical of the time period,\u201d says Beck. \u201cThis involved not only the instrumentation, but also the composition style. My team and I had enormous fun exploring these styles!<\/p>\n<p>\u201cIt was also exciting to find ways to connect the scores together even as they span the stylistic variety across all the episodes,\u201d continues Beck. \u201cWanda and Vision have a love theme that I was able to weave in and out within the context of all the different sitcom styles, for example.\u201d<\/p>\n<p>According to Beck, the score features instruments that were typical of the era being represented in a given episode. Early episodes feature small orchestral ensembles, while later episodes embrace a rock-pop style. Beck also utilized period-specific recording and mixing techniques to achieve the authenticity filmmakers wanted.<\/p>\n<p>Beck adds that the length of the cues changed with the eras. \u201cAs the series progresses through the decades, the music becomes more pervasive.\u201d<\/p>\n<h1><u>ABOUT THE TALENT<\/u><\/h1>\n<p>&nbsp;<\/p>\n<p><strong>ELIZABETH OLSEN (Wanda Maximoff) <\/strong> is a vivacious and engaging young actress, a graduate from New York University\u2019s prestigious Tisch School of the Arts, and a recipient of Hollywood Rising Star Award at the 41st Annual Deauville Film Festival in 2015.<\/p>\n<p>Olsen starred in and executive produced the dark-comedy series \u201cSorry For Your Loss\u201d on Facebook Watch. She starred as a young widow who\u2019s dealing with the grief of losing her husband while reconnecting with relationships of her past. Olsen\u2019s performance earned her a Critics Choice Award nomination for best actress in a drama series. The series wrapped its second and final season on Oct. 1, 2019.<\/p>\n<p>Olsen reprises her role as Wanda Maximoff in Marvel Studios\u2019 \u201cWandaVision,\u201d starring alongside Paul Bettany, who reprises his role as Vision. The series debuts Jan. 15, 2021, on Disney+. Olsen returns as Wanda in \u201cDoctor Strange In The Multiverse of Madness,\u201d which opens in theaters March 25, 2022.<\/p>\n<p>Olsen resurrected her character Wanda Maximoff in Marvel Studios\u2019 \u201cAvengers: Endgame\u201d alongside Chris Evans, Robert Downey Jr., Scarlett Johansson, Paul<\/p>\n<p>Bettany, Brie Larson and Anthony Mackie. The globally anticipated continuation opened in theaters on April 26, 2019, and has grossed almost $3 billion. To date, the film has earned nearly $3 billion in the worldwide box office. Olsen originally appeared as Wanda in 2015\u2019s \u201cAvengers: Age of Ultron\u201d and subsequently appeared in \u201cCaptain<\/p>\n<p>America: Civil War\u201d in 2016.<\/p>\n<p>In 2018, Olsen starred in \u201cKodachome\u201d opposite Ed Harris and Jason Sudeikis. The film is set during the final days of the still-photo development system known as Kodachrome. The ticking clock to get the rolls of film developed is the backdrop for a father-and-son bonding trip as they try to reach the Kansas photo lab before it closes its doors for good. \u201cKodachome,\u201d which was acquired by Netflix during the 2017 Toronto International Film Festival, was released on the streaming platform in April 2018.<\/p>\n<p>In 2017, Olsen starred in \u201cWind River\u201d opposite her Avengers co-star, Jeremy Renner. The film, written and directed by Taylor Sheridan, centers on a murder on the Wind River Indian Reservation. That same year, Olsen starred in the dark comedy \u201cIngrid Goes West,\u201d alongside Aubrey Plaza, Wyatt Russell and O\u2019Shea Jackson Jr. The Matt Spicer-directed film follows Ingrid Thorburn (Plaza) who becomes obsessed with Taylor Sloane (Olsen), a social media influencer with a seemingly perfect life in Los Angeles. \u201cIngrid Goes West\u201d was nominated for a 2018 Film Independent Spirit Award for best first screenplay and best first feature.<\/p>\n<p>In 2016, Olsen appeared in the Hank Williams biopic titled \u201cI Saw the Light\u201d as Audrey Mae Williams, opposite Tom Hiddleston. The Sony Pictures Classics film premiered at the Toronto International Film Festival on Sept. 11, 2015, opening in theaters in March 2016. In 2014, Olsen appeared in the Warner Brothers and Legendary Pictures reboot of \u201cGodzilla,\u201d opposite Aaron-Taylor Johnson and Bryan Cranston.<\/p>\n<p>In 2013, Olsen starred in the Spike Lee-directed film \u201cOldboy\u201d with Samuel L. Jackson and Josh Brolin. The film centers around an everyday man that has only five days and limited resources to discover why he was imprisoned in a nondescript room for 15 years without any explanation. Olsen also appeared in the film \u201cIn Secret,\u201d opposite Jessica Lange and Oscar Issacs, which opened in Feb. 2013. That same year, Olsen helped kick off the Classic Stage Company\u2019s Fall 2013-2014 season as the lead role, Juliet, in the Off Broadway play \u201cRomeo and Juliet.\u201d Olsen also starred in \u201cVery Good Girls,\u201d opposite Dakota Fanning, which premiered at the 2013 Sundance Film Festival. The Naomi Foner-directed film is about two New York City girls that make a pact to lose their virginity during their first summer out of high school. Olsen had two previous films premiere at the 2012 Sundance Film Festival: \u201cLiberal Arts\u201d with Josh Radnor, John Magaro, Zac Efron and Richard Jenkins, and \u201cRed Lights\u201d opposite Robert DeNiro, Cillian Murphy and Sigourney Weaver.<\/p>\n<p>In spring of 2012 Olsen starred in the independent film \u201cSilent House\u201d from Open Road Films. The film is the re-imagining of the successful Uruguayan psychological horror- thriller \u201cLa Casa Muda.\u201d In 2011 Olsen received a Gotham Award, Critics Choice and Independent Spirit Award nomination for lead actress for her performance in Fox<\/p>\n<p>Searchlight\u2019s \u201cMartha Marcy May Marlene.\u201d The film is a drama that follows a young woman who is living with her older sister after escaping a cult. Olsen stars opposite Hugh Dancy, John Hawkes, Sarah Paulson and Brady Corbet. <em>\u201c<\/em>Martha Marcy May Marlene\u201d was also selected in the Un Certain Regard as part of the 2011 Cannes Film Festival. She has been nominated for her performance from the following critic associations: St. Louis, Las Vegas, Houston, FIND Spirit, San Diego, IPA and Detroit. She won best actress from the Indiana Critics Association.<\/p>\n<p>Olsen understudied both on the Off Broadway play \u201cDust\u201d and the Broadway play \u201cImpressionism\u201d while attending New York University. Other workshops include \u201cBottom of the World\u201d by Lucy Thurber (Atlantic Theatre Company), and \u201cThe Living Newspaper\u201d (DRD Theatricals). Olsen has had formal training at Atlantic Acting School and Moscow Art Theatre School.<\/p>\n<p>Olsen serves as a board member of The Latitude Project, which builds solutions to help alleviate the stresses of poverty in ways that engage and empower people from roofs to clean water and healthcare to education. On June 9, 2018, the Environmental Media Association (EMA) honored Olsen with the EMA Futures Award for her work with The Latitude Project. Since 1989, the Environmental Media Association (EMA) has been using its voice to effect change and honoring excelling and role modeling in entertainment, media, technology and business. The organization works to educate the public about water issues, energy solutions, animal protection and conscious consumption for lifestyle choices. The EMA Futures Award is given to young and emerging advocates for the environment. Olsen also is a dedicated volunteer at the Stuart House: Rape Treatment Center, which provides expert comprehensive services for victims of rape, sexual assault, and child sexual abuse, including specialized medical care, forensic services, crisis counseling and longer-term psychotherapy, advocacy, and other forms of support. The center also provides prevention education programs, professional training for law enforcement personnel, medical personnel and school personnel, and advocacy for needed policy rape, sexual assault and child sexual abuse, including specialized medical care, forensic services, crisis counseling and longer-term psychotherapy, advocacy and other forms of support.<\/p>\n<p><strong>PAUL BETTANY (Vision) <\/strong>reprises his role as Vision in the Disney+ series \u201cWandaVision,\u201d debuting on January 15, 2021. Previously, he starred as Vision in the films \u201cCaptain America: Civil War,\u201d \u201cThe Avengers: Age of Ultron\u201d and \u201cAvengers: Infinity War.\u201d<\/p>\n<p>He was most recently seen in the film \u201cUncle Frank\u201d for writer\/director Alan Ball which premiered at Sundance and sold to Amazon Studios. It was released on Amazon Prime on Nov. 25, 2020.<\/p>\n<p>Bettany was classically trained at the Drama Centre in London. He made his stage debut in a West End production of \u201cAn Inspector Calls\u201d under the direction of Stephen Daldry.<\/p>\n<p>Bettany was nominated for a British Independent Film Award and a London Film Critic\u2019s Award for best newcomer in IFC\u2019s \u201cGangster No. 1,\u201d directed by Paul McGuigan. He went on to star in Brian Helgeland\u2019s film \u201cA Knight\u2019s Tale\u201d opposite Heath Ledger.<\/p>\n<p>Bettany also starred in the Academy Award\u00ae-winning film \u201cA Beautiful Mind,\u201d and Fox\u2019s \u201cMaster &amp; Commander: The Far Side of the World\u201d for director Peter Weir for which he won an Evening Standard Award for best British actor, the London Film Critic\u2019s Award for best supporting actor and Elle Style Award for best actor. His nominations also include a BAFTA for best supporting actor and a Broadcast Film Critics Association nomination for best supporting actor.<\/p>\n<p>Other credits include the Academy Award-nominated film \u201cMargin Call,\u201d the British films \u201cJourney\u2019s End\u201d and \u201cBlood,\u201d the action films \u201cThe DaVinci Code,\u201d \u201cSolo: A Star Wars Story,\u201d \u201cLegion and Priest,\u201d and the avant-garde film \u201cDogville.\u201d<\/p>\n<p>In television, Bettany starred as Ted Kaczynski in \u201cManhunt: Unabomber\u201d where critics and audiences heralded his performance.<\/p>\n<p>He made his directorial debut with the film \u201cShelter\u201d starring Jennifer Connelly.<\/p>\n<p><strong>TEYONAH PARRIS (Monica Rambeau) <\/strong>has established herself as a versatile actress who continues to capture attention on stage and screen. She will star opposite John Boyega and Jamie Foxx in the Netflix sci-fi feature film \u201cThey Cloned Tyrone.\u201d The film, which will mark the directorial debut of \u201cCreed 2\u201d scribe Juel Taylor, follows a series of events that thrusts an unlikely trio (Boyega, Foxx, Parris) onto the trail of a nefarious government conspiracy.<\/p>\n<p>On January 15, 2021, global audiences will see Parris join the Marvel Cinematic Universe as the iconic character Monica Rambeau in the highly anticipated Disney+ original series \u201cWandaVision\u201d opposite Elizabeth Olsen and Paul Bettany.\u202f Next August, Parris will star opposite Yahya Abdul-Mateen II in the contemporary take on the cult horror classic \u201cCandyman.\u201d The film, directed by Nia DaCosta and written by Oscar\u00ae winner Jordan Peele, is scheduled to be released in theaters by Universal Pictures on August 27, 2021.<\/p>\n<p>Parris was recently seen in the HBO Max film \u201cCharm City Kings\u201d\u202falongside Meek Mill, which had its world premiere at the 2020 Sundance Film Festival and won the Special Jury Prize for ensemble acting. Based on the documentary \u201c12 O\u2019Clock Boys,\u201d the film adaptation was originally written by Barry Jenkins, with rewrites from Sherman Payne.<\/p>\n<p>Parris gave a memorable performance in Annapurna\u2019s \u201cIf Beale Street Could Talk,\u201d directed by\u202fAcademy Award\u00ae-winner Barry Jenkins<em>\u202f<\/em>(\u201cMoonlight\u201d). The film, adapted from the successful James Baldwin novel, explored the life and challenges faced by a young couple in Harlem. \u201cIf Beale Street Could Talk,\u201d which first premiered at the 2018 Toronto International Film Festival and screened at the 2018 New York Film Festival, was nominated for a Golden Globe\u00ae Award for best motion picture drama, and was also honored by AFI as one of their movies of the year.<\/p>\n<p>In 2014, Parris\u202fstarred opposite Tessa Thompson in Justin Simien\u2019s breakout independent film \u201cDear White People.\u201d\u202fHer performance\u202fearned her a Black Reel Award in the\u202fcategory\u202fof\u202foutstanding breakthrough performance. That next year, Parris was cast as the lead role in Spike Lee\u2019s\u202f\u201cChi-Raq,\u201d\u202ffor which she won\u202fthe Black Reel and African-American Film Critics Association Awards for best actress, and also garnered an NAACP Image Award nomination. Parris then went on to appear as real-life singer Miki Howard in the Christine Swanson-directed telefilm \u201cLove Under New Management: The Miki Howard Story,\u201d in which she also served as a producer.\u202fOther film credits include \u201cHow Do You Know,\u201d \u201cPoint Blank\u201d and \u201cThe Photograph.\u201d<\/p>\n<p>On television, Parris recurred opposite Jon Hamm on AMC Network&#8217;s critically\u202facclaimed television series \u201cMad Men,\u201d and\u202fremained\u202fwith the show\u202fthroughout its final four seasons. In 2013,\u202fParris and her fellow \u201cMad Men\u201d actors earned\u202fa Screen Actors Guild Award nomination for outstanding performance by an ensemble in a drama series. From 2014-2017, Parris\u202falso starred on the acclaimed television series \u201cSurvivor\u2019s Remorse\u201d\u202ffor its entire four-season run on Starz.<\/p>\n<p>On stage, Parris made her Broadway debut in\u202fJohn Guare&#8217;s play \u201cA Free Man of Color\u201d alongside\u202fJeffrey Wright and Mos Def.\u202fThe play, directed by George C. Wolfe, played at the Vivian Beaumont Theater. In 2019, Parris originated the role of Kaneisha in the Off-Broadway production of Jeremy O. Harris\u2019 much-buzzed about production of \u201cSlave Play.\u201d<\/p>\n<p>Parris is a graduate of the prestigious Juilliard School in New York City.<\/p>\n<p><strong>KATHRYN HAHN (Agnes) <\/strong>will be seen in &#8220;WandaVision,&#8221; alongside Elizabeth Olsen and Paul Bettany, portraying the nosy neighbor Agnes. The series is a blend of classic television and the Marvel Cinematic Universe in which two super-powered beings living idealized suburban lives begin to suspect that everything is not as it seems. It is set to debut on Disney+ on January 15.<\/p>\n<p>Hahn is in production in Apple TV+\u2019s \u201cThe Shrink Next Door,\u201d alongside Paul Rudd and Will Ferrell. The limited series is based on the true story of a psychiatrist-patient dynamic that morphs into an exploitative relationship filled with manipulation, power grabs and dysfunction. Hahn portrays Phyllis, the younger sister to Martin Markowitz (Ferrell) who is the patient of Dr. Isaac Herschkopf (Rudd).<\/p>\n<p>Recently, Hahn was seen in the HBO limited series \u201cI Know This Much is True,\u201d in which she co-stars with Mark Ruffalo, Melissa Leo, Rosie O\u2019Donnell, Archie Panjabi, Imogen Poots and Juliette Lewis. The series depicts a family saga that follows the parallel lives of identical twin brothers in a story of betrayal, sacrifice and forgiveness set against the backdrop of 20th-century America, based on the best-selling novel of the same name by Wally Lamb.<\/p>\n<p>Film credits include Tamara Jenkins\u2019 \u201cPrivate Life,\u201d for which she received a Gotham Independent Film Award nomination; Phil Johnston and Rich Moore\u2019s \u201cSpider Man: Into the Spider-Verse\u201d; Genndy Tartakovsky\u2019s \u201cHotel Transylvannia 3: Summer Vacation\u201d; \u201dMax Winkler\u2019s \u201cFlower\u201d; Jon Lucas and Scott Moore\u2019s \u201cA Bad Moms Christmas\u201d and \u201cBad Moms\u201d; Matt Ross\u2019 \u201cCaptain Fantastic\u201d opposite Viggo Mortensen; Steven Brill\u2019s \u201cThe Do-Over\u201d alongside Adam Sandler and David Spade; Peter Bogdanovich\u2019s \u201cShe\u2019s Funny That Way,\u201d alongside Imogen Poots, Owen Wilson and Jennifer Aniston; M. Night Shyamalan\u2019s \u201cThe Visit\u201d; Jarrad Paul and Andrew Mogel\u2019s \u201cThe D Train\u201d; Brad Bird\u2019s \u201cTomorrowland\u201d opposite George Clooney; as well as Shawn Levy\u2019s \u201cThis is Where I Leave You.\u201d Additional credits include Jason Bateman\u2019s \u201cBad Words,\u201d Ben Stiller\u2019s \u201cThe Secret Life of Walter Mitty,\u201d starring and directed by Ben Stiller, and Rawson Marshall Thurber\u2019s \u201cWe\u2019re the Millers\u201d with Jennifer Aniston and Jason Sudeikis.<\/p>\n<p>Hahn also starred in Jill Soloway\u2019s \u201cAfternoon Delight,\u201d which premiered at the 2013 Sundance Film Festival and garnered her a 2013 breakthrough actor Gotham Award nomination. Other feature film credits include David Wain\u2019s \u201cWanderlust,\u201d Jesse Peretz\u2019s \u201cOur Idiot Brother,\u201d James Brooks\u2019 \u201cHow Do You Know,\u201d Neal Brennan\u2019s \u201cThe Goods: Live Hard, Sell Hard,\u201d Sam Mendes\u2019 Revolutionary Road,\u201d Adam McKay\u2019s \u201cStep Brothers,\u201d Robert Shaye\u2019s \u201cThe Last Mimzy,\u201d Nancy Meyers\u2019 \u201cThe Holiday,\u201d as well as Adam McKay\u2019s \u201cAnchorman: The Legend of Ron Burgundy.\u201d<\/p>\n<p>On television, Hahn was recently seen in the Tom Perrotta created HBO series \u201cMrs. Fletcher,\u201d Matthew Weiner\u2019s anthology \u201cThe Romanoffs\u201d with Jay R. Ferguson, Annet Mahendru and Clea Duvall, and Jill Soloway\u2019s \u201cI Love Dick\u201d opposite Kevin Bacon.<\/p>\n<p>Additionally, Hahn co-starred in season three of the Emmy\u00ae-nominated Amazon original series \u201cTransparent\u201d created by Jill Soloway. For her portrayal of Raquel Fein, Hahn received a 2017 Emmy Award nomination for outstanding supporting actress in a comedy series. Additional television credits include Showtime\u2019s dark comedy \u201cHappyish\u201d opposite Steve Coogan. Hahn had a guest-starring arc on the NBC hit show \u201cParks and Recreation,\u201d as well as HBO\u2019s \u201cNewsroom\u201d and \u201cGirls.\u201d Her previous roles include NBC\u2019s \u201cCrossing Jordan,\u201d \u201cFour Kings,\u201d \u201cHung\u201d and \u201cFree Agents.\u201d Hahn also has lent her voice to the Apple TV+ animated series \u201cCentral Park,\u201d FX\u2019s \u201cChozen,\u201d and Fox\u2019s \u201cBob\u2019s Burgers\u201d and \u201cAmerican Dad!\u201d<\/p>\n<p>Hahn made her Broadway debut in the Tony\u00ae-winning play \u201cBoeing-Boeing,\u201d alongside Bradley Whitford, Gina Gershon, Mary McCormack, Christine Baranski and Mark Rylance. \u201cBoeing-Boeing\u201d won the 2008 Tony in the category of best revival of a play. Additional theatre credits include \u201cDead End\u201d at the Ahmanson Theater and Huntington Theater Company, \u201cTen Unknowns\u201d at Huntington Theater Company, \u201cA Midsummer Night\u2019s Dream,\u201d \u201cChaucer in Rome\u201d and \u201cCamino Real\u201d at Williamstown Mainstage, and \u201cHedda Gabler\u201d at Williamstown\/Baystreet.<\/p>\n<p>Hahn received her Bachelor\u2019s degree from Northwestern University and her Masters in Fine Arts from Yale School of Drama.<\/p>\n<h1><u>ABOUT THE FILMMAKERS<\/u><\/h1>\n<p>&nbsp;<\/p>\n<p><strong>MATT SHAKMAN (Director\/Executive Producer) <\/strong> just finished directing and executive producing Marvel Studios\u2019 \u201cWandaVision,\u201d starring Elizabeth Olson and Paul Bettany.<\/p>\n<p>He previously wrapped the MRC\/Hulu pilot \u201cThe Great,\u201d starring Nicholas Hoult and Elle Fanning, for which he received an Emmy\u00ae nomination for outstanding directing for a comedy series, and directed an episode for the second season of HBO\u2019s \u201cSuccession.\u201d His two episodes from season seven of \u201cGame of Thrones,\u201d \u201cThe Spoils of War\u201d (DGA nomination) and \u201cEastwatch,\u201d received some of the best reviews of the entire series.<\/p>\n<p>Last year, Shakman directed episodes of \u201cThe Boys\u201d for Amazon and \u201cBillions\u201d for Showtime.<\/p>\n<p>Shakman\u2019s directorial credits also include the feature film \u201cCut Bank\u201d for A24 (Toronto International Film Festival premiere), as well as many episodes of TV\u2019s best shows including \u201cMad Men,\u201d \u201cThe Good Wife,\u201d and the season one finale of \u201cFargo\u201d on<\/p>\n<ol>\n<li>Shakman also served as the series director and executive producer on \u201cIt\u2019s Always Sunny in Philadelphia.\u201d He was tapped to adapt his iconic episode \u201cThe Nightman Cometh\u201d for the stage which resulted in a sold-out national tour. Shakman is also the artistic director of the Geffen Playhouse in Los Angeles.<\/li>\n<\/ol>\n<p><strong> JAC SCHAEFFER (Head Writer\/Executive Producer\/Created for Television By) <\/strong> is the head writer and an executive producer for Marvel Studios\u2019 \u201cWandaVision,\u201d which kicks off on Disney+ on Jan. 15, 2021.<\/p>\n<p>Schaeffer launched her career in 2009 as writer\/director\/producer of the feature film \u201cTiMER.\u201d She wrote the screenplay for Walt Disney Animation Studios\u2019 2017 featurette \u201cOlaf\u2019s Frozen Adventure,\u201d and 2019\u2019s \u201cThe Hustle,\u201d which starred Anne Hathaway and Rebel Wilson. Schaeffer also contributed to the story for Marvel Studios\u2019 upcoming feature film \u201cBlack Widow,\u201d starring Scarlett Johansson as Natasha Romanoff.<\/p>\n<p>Cinematographer <strong>JESS HALL (Director of Photography) <\/strong>demonstrates a versatility to move effortlessly between genres bringing his unique eye to a diverse range of projects, incorporating a multiplicity of cinematic styles. From his naturalistic palette and poetic minimal shot structure much celebrated on James Ponsoldt\u2019s Sundance Special Jury Prize winner \u201cThe Spectacular Now\u201d to the kinetic pace of Edgar Wright\u2019s cult classic action comedy \u201cHot Fuzz.\u201d Hall\u2019s images charm, resonate and exhilarate with equal measure.<\/p>\n<p>Hall received a Satellite Award Nomination for his cinematography on \u201cBrideshead Revisited.\u201d His 2017 live-action rendering of the anime classic \u201cGhost In The Shell\u201d employed many innovative technical strategies, combining 65mm large format digital cinematography, state-of-the-art LED lighting technology, custom-built lenses and the first 24 FPS Photogrammetry capture rig to be used on a live-action feature film. Hall\u2019s use of advanced LED lighting to achieve the precise rendering of the complex secondary anime color palette was honored in the reception of the HPA award for best color grading on a feature film.<\/p>\n<p>In addition to his long-form work, Hall has continued to shoot award-winning commercials, including multiple Cannes Gold Lion winners and Silver D&amp;AD pencils for cinematography. In 2020, Hall received the AICP award for best cinematography on \u201cSmirnoff Infamous Since 1864.\u201d The project also saw Hall\u2019s work receive another award in the color grading category, cementing his reputation as an artist who has dexterously navigated the color science required to produce images of luxurious color depth in the digital format.<\/p>\n<p>Hall collaborated with the Academy Award\u00ae-winning documentarian Kevin Macdonald on his film \u201cMarley\u201d and Academy Award-winning writer\/director Stephen Knight on his latest film \u201cSerenity.\u201d Hall is a member of The American Society of Cinematographers, The British Society of Cinematographers and The Academy of Motion Picture Arts and Sciences.<\/p>\n<p><strong>MARK WORTHINGTON (Production Designer) <\/strong>counts among his designs for television include five seasons of \u201cAmerican Horror Story,\u201d the pilot of \u201cLost,\u201d four seasons of ABC\u2019s \u201cUgly Betty\u201d and the pilot for \u201cOnce Upon a Time,\u201d \u201cPolitical Animals\u201d for TNT, and the pilot for \u201cStar Trek: Discovery,\u201d the return of the franchise to its original home on television. Worthington\u2019s credits also include the pilot for \u201cThe Umbrella Academy\u201d for Netflix, the pilot for Damon Lindelof\u2019s adaptation of \u201cWatchmen\u201d for HBO, and the first season of the CBS All Access series \u201cWhy Women Kill.\u201d<\/p>\n<p>Worthington has also worked in feature film as an art director on such projects as \u201cTombstone,\u201d \u201cThe Chamber,\u201d \u201cWag the Dog,\u201d \u201cHearts in Atlantis,\u201d \u201cAustin Powers in Goldmember,\u201d and \u201cLegally Blonde 2.\u201d<\/p>\n<p>Worthington has received nine nominations from the Art Director\u2019s Guild for excellence in production design for television, winning the award five times; he has received eight Emmy\u00ae nominations.<\/p>\n<p>Worthington holds a BA in Theatre from Reed College and an MFA in Scene Design from the Carnegie Mellon University School of Drama.<\/p>\n<p><strong>MAYES C. RUBEO (Costume Designer) <\/strong>adds Marvel Studios\u2019 \u201cWandaVision\u201d to her roster of projects in the Marvel Cinematic Universe, which include 2017\u2019s \u201cThor: Ragnarok\u201d and the upcoming feature film \u201cThor: Love and Thunder, which opens on May 6, 2022. She is also known for her work on \u201cJojo Rabbit\u201d (2019), for which she was nominated for an Oscar\u00ae and a BAFTA Award, as well \u201cApocalypto\u201d (2006), \u201cAvatar\u201d (2009), \u201cThe Great Wall\u201d (2016), \u201cWarcraft: The Beginning\u201d (2016), \u201cWorld War Z\u201d (2013) and \u201cJohn Carter\u201d (2012).<\/p>\n<p>Rubeo was born in Mexico City and went on to train in fashion and costume at the Los Angeles Trade-Tech College (LATTC) and UCLA. In a design career spanning two decades, Rubeo has collaborated with visionary directors such as Mel Gibson and Zhang Yimou, leading studios such as Legendary and Marvel, and with screen stars including Cate Blanchett, Ruth Negga, Brad Pitt and Andy Lau. Rubeo\u2019s early collaborations laid the foundations for a career that has demanded great versatility: she began work as an assistant costume designer and costume supervisor, gaining experience with designers Shay Cunliffe, Erica Edell Phillips, Ellen Mirojnick and Enrico Sabbatini, the latter becoming her career mentor.<\/p>\n<p>After assisting Shay Cunliffe on \u201cLone Star\u201d (1996), Rubeo continued to work with the same independent director-producer team John Sayles and Maggie Renzi, designing costumes for \u201cMen with Guns\u201d (1997), \u201cSunshine State\u201d (2002), and \u201cCasa de los Babys\u201d (2003). For Hallmark&#8217;s movie \u201cSaga Fidel\u201d (2002), Mayes met the challenge of costuming to tell a story which spanned seven decades. But it was Rubeo\u2019s collaboration with Mel Gibson on \u201cApocalypto\u201d (2006), for which she delivered a powerful image of the lost Mayan civilization, that set her on the path to creating the look of the otherworldly at an epic scale. Since then, she has been known for creating the visual identities of the Na\u2019vi people in James Cameron&#8217;s \u201cAvatar\u201d (2009), bringing to life Edgar Rice Burroughs&#8217;s 100-year-old vision of civilized Mars in Andrew Stanton&#8217;s \u201cJohn Carter\u201d (2012), and for transforming some of the world&#8217;s most popular video game and comic book characters into reality on-screen with Duncan Jones&#8217; \u201cWarcraft\u201d (2016) and Taika Waititi&#8217;s \u201cThor: Ragnarok\u201d (2017). Mayes put her energies back into gritty realism in 2013 for Marc Forster&#8217;s \u201cWorld War Z\u201d (2013), costuming thousands of people (living and un-dead) on a global scale.<\/p>\n<p>Rubeo continues to bring her costumes into new territories, turning technological and technical challenges into creative opportunities. Her passion and collaborative spirit have enabled her to successfully lead diverse teams across five continents, merging traditional craft skills with state-of-the-art technology.<\/p>\n<p>Rubeo received nominations from the Costume Designer\u2019s Guild for her work on \u201cFidel,\u201d \u201cAvatar,\u201d \u201cThor: Ragnarok\u201d and \u201cJojo Rabbit,\u201d the latter also earning her a WIN Costume Designers Guild award for excellence in period film. Rubeo\u2019s work has been featured in international exhibitions, including the Deborah Nadoolman Landis curated exhibition Hollywood Costume (2012) at the Victoria &amp; Albert Museum (V&amp;A) in London. Three FIDM Exhibitions: 18th Annual Art of Motion Picture Costume Design for the film \u201cApocalypto,\u201d 21st Annual Art of Motion Picture Costume Design for the film \u201cJohn Carter,\u201d and the 26th Annual Art of Motion Picture Costume Design for the film \u201cThor: Ragnarok.\u201d Rubeo is a member of the Academy of Motion Pictures Arts and Sciences, the Costume Designers Guild of America and the Scenic Arts Guild.<\/p>\n<p><strong>TARA D<\/strong><strong>EMARCO (Visual Effects Supervisor) <\/strong>is an award-winning VFX supervisor known for her cutting-edge work as a flame artist. Her 18-year career in visual effects is grounded in high-end commercial work, having composited on Emmy, Cannes Lion, and DA&amp;D award-winning work. Through a 14-year run at The Mill as well as freelancing with several other studios (Method, Brickyard, Psyop), DeMarco has made her mark as compositor and VFX supervisor. She has worked on classic music videos like The White Stripes \u201cThe Denial Twist,\u201d as well as Brian Buckley\u2019s Sundance contender \u201cThe Bronze.\u201d Her long career in commercial work was supporting the visions of brands like Old Spice, Geico, Nike, Pepsi, Gatorade, Doritos, Xbox, and Apple, for commercials that have aired at the Super Bowl, the World Cup, the Olympics, as well as the Oscars and Emmys.<\/p>\n<p>DeMarco began her career by studying Fine Art Photography and Interrelated Media at Massachusetts College of Art in Boston. It was there that she discovered a passion for visual effects, and the seamless blending of created images with the footage captured in camera.<\/p>\n<p>Award-winning composer <strong> CHRISTOPHE BECK (Composer) <\/strong>has a career that bridges genres and garners well-deserved acclaim. Beck displays his range from scoring Marvel Studios\u2019 action-adventure \u201cAnt-Man\u201d to Fox\u2019s film adaptation of Charles Schulz\u2019s beloved comic strip \u201cPeanuts.\u201d Recent projects include \u201cLike a Boss,\u201d \u201cWalkaway Joe,\u201d \u201cThe Christmas Chronicles: Part Two,\u201d and \u201cFree Guy,\u201d which is slated for release this year.<\/p>\n<p>The prolific composer scored the Oscar\u00ae and GRAMMY\u00ae-winning animated film \u201cFrozen\u201d (the soundtrack album has sold over 3 million copies), and \u201cFrozen 2\u201d\u2014whose soundtrack beat the \u201cFrozen\u201d record for most weeks at #1 on Billboard\u2019s Soundtrack Charts at 45 non-consecutive weeks. Beck\u2019s recent credits also include the documentary \u201cWatson,\u201d \u201cThe Christmas Chronicles\u201d for Netflix, and Marvel Studios\u2019 \u201cAnt-Man and the Wasp.\u201d He is the musical voice of iconic comedies of the last decade,<\/p>\n<p>including: \u201cThe Hangover,\u201d \u201cAmerican Pie,\u201d \u201cHot Tub Time Machine\u201d and \u201cPitch Perfect\u201d; poignant films, including \u201cCake,\u201d starring Jennifer Anniston, and the true-life-based drama \u201cWe Are Marshall\u201d; documentaries including \u201cRed Army\u201d and the award-winning \u201cWaiting for Superman\u201d; rom-coms, including \u201cUnder the Tuscan Sun\u201d and \u201cCrazy,<\/p>\n<p>Stupid, Love\u201d; along with action films, including \u201cYear of the Dog\u201d and \u201cEdge of Tomorrow,\u201d the sci-fi thriller directed by Doug Liman, starring Tom Cruise and Emily<\/p>\n<p>Blunt, as well as the drama\/crime film \u201cAmerican Made.\u201d Beck\u2019s breakthrough success came by composing music for the TV series \u201cBuffy the Vampire Slayer,\u201d for which he earned an Emmy\u00ae.<\/p>\n<p>Beck is unique in his versatile ability to develop the tone in any genre. His music combines a masterful use of complex dynamics to create tension and convey a vast spectrum of emotion. Beck\u2019s scores add depth, intrigue, humor and sentiment, and his music contributes powerfully to the aesthetic of each film he scores.<\/p>\n<p>Beck began playing piano at age 5. He then studied music at Yale and attended the USC film-scoring program under the tutelage of legendary composer Jerry Goldsmith. He began composing in television at the personal recommendation of Disney music legend Buddy Baker.<\/p>\n<p><strong> KRISTEN ANDERSON-LOPEZ <\/strong> and <strong>ROBERT LOPEZ (Episode-Specific Theme Songs by) <\/strong>are the Oscar\u00ae- and Grammy\u00ae-award winning, married songwriting team behind Walt Disney Animation Studios\u2019 \u201cFrozen 2.\u201d They wrote the songs for original \u201cFrozen,\u201d for which they won the Oscar for best original song for \u201cLet it Go.\u201d They also wrote the Oscar-winning song \u201cRemember Me\u201d from Disney and Pixar\u2019s \u201cCoco,\u201d and adapted \u201cFrozen\u201d for the Broadway stage. Their original song \u201cInto the Unknown\u201d from Disney\u2019s 2019 feature film \u201cFrozen 2\u201d was also nominated for an Oscar and a Golden Globe\u00ae.<\/p>\n<p>Lopez co-conceived and co-wrote the hit musicals \u201cAvenue Q\u201d and \u201cThe Book of Mormon,\u201d both earning him Tony\u00ae Awards. Anderson-Lopez\u2019s show \u201cIn Transit\u201d made history as the first all a cappella musical to run on Broadway, after earning recognition at the Drama Desk, Drama League and Lucille Lortel Awards for its Off-Broadway run. Lopez and Anderson-Lopez have written for television, film and stage, including \u201cFinding Nemo: The Musical,\u201d songs for \u201cThe Wonder Pets\u201d (two Emmy\u00ae Award wins) and the \u201cWinnie the Pooh\u201d animated film. Their original musical \u201cUp Here\u201d premiered at the La Jolla Playhouse.<\/p>\n<p>Graduates of Yale University and Williams College, respectively, Lopez and Anderson- Lopez now reside in Brooklyn, NY, with their two daughters.<\/p>\n<h1>KEY CREDITS<\/h1>\n<p>&nbsp;<\/p>\n<table>\n<tbody>\n<tr>\n<td width=\"306\"><strong>DIRECTOR:<\/strong><\/td>\n<td width=\"348\">Matt Shakman<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong> HEAD WRITER\/CREATED FOR TELEVISION BY:<\/strong><\/td>\n<td width=\"348\">Jac Schaeffer<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong> EXECUTIVE PRODUCERS:<\/strong><\/td>\n<td width=\"348\">Kevin Feige, Louis D\u2019Esposito, Victoria Alonso, Matt Shakman, Jac Schaeffer<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>CO-EXECUTIVE PRODUCERS:<\/strong><\/td>\n<td width=\"348\">Mary Livanos, Trevor Waterson<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>LINE PRODUCER:<\/strong><\/td>\n<td width=\"348\">Mary Kane<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>ASSOCIATE PRODUCER:<\/strong><\/td>\n<td width=\"348\">Jason Tamez<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong> EPISODE-SPECIFIC EDITORS:<\/strong><\/td>\n<td width=\"348\">Tim Roche, Nona Khodai, Zene Baker<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>DIRECTOR OF PHOTOGRAPHY:<\/strong><\/td>\n<td width=\"348\">Jess Hall, ASC<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>PRODUCTION DESIGNER:<\/strong><\/td>\n<td width=\"348\">Mark Worthington<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>COSTUME DESIGNER:<\/strong><\/td>\n<td width=\"348\">Mayes C. Rubeo<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>VFX SUPERVISOR:<\/strong><\/td>\n<td width=\"348\">Tara DeMarco<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>VFX PRODUCER:<\/strong><\/td>\n<td width=\"348\">James Alexander<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>COMPOSER:<\/strong><\/td>\n<td width=\"348\">Christophe Beck<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong> EPISODE-SPECIFIC THEMES BY:<\/strong><\/td>\n<td width=\"348\">Kristen Anderson-Lopez and Robert Lopez<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>MUSIC SUPERVISOR:<\/strong><\/td>\n<td width=\"348\">Dave Jordan<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>CASTING BY:<\/strong><\/td>\n<td width=\"348\">Sarah Halley Finn, CSA \/ Jason B. Stamey, CSA<\/td>\n<\/tr>\n<tr>\n<td width=\"306\"><strong>MAIN CAST <\/strong> (not all cast in all episodes)<strong>:<\/strong><\/td>\n<td width=\"348\">Elizabeth Olsen, Paul Bettany, Teyonah Parris, Kathryn Hahn, Randall Park, Kat Dennings<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>Proofread and Edited by <a href=\"https:\/\/tvmeg.com\/index.php\/2020\/06\/20\/biobrenda\/\">Brenda<\/a><\/p>\n<p><a href=\"https:\/\/tvmeg.com\/index.php\/primetime\/reviews\/\">Back to the Main Reviews Page<\/a><\/p>\n<p><i>The opinions in these articles are those of the writer and do not necessarily reflect the opinions of TVMEG.COM or its other volunteers.<\/i><\/p>\n<script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<!-- TVMEGBODY -->\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-client=\"ca-pub-1056557952271337\"\r\n     data-ad-slot=\"8801203268\"\r\n     data-ad-format=\"auto\"\r\n     data-full-width-responsive=\"true\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-10238\" src=\"https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision2.jpg\" alt=\"Elizabeth Olsen (Wanda) and Paul Bettany (Vision) in &quot;WandaVision&quot; on Disney+\" width=\"210\" height=\"400\" srcset=\"https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision2.jpg 210w, https:\/\/tvmeg.com\/wp-content\/uploads\/2021\/01\/wandavision2-158x300.jpg 158w\" sizes=\"(max-width: 210px) 100vw, 210px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>TV Review! &#8220;Wanda\/Vision&#8221; on Disney+ Review by Suzanne 1\/16\/21 This is a very weird show. The two stars of this series (Elizabeth Olsen and Paul Bettany), and their characters, were in the Avengers&#8217; movies as superheroes The Scarlet Witch and Vision. If you haven&#8217;t seen those films, you might not understand what&#8217;s going on. However, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[73,7],"tags":[79,548,222,445,519,125,341,547,546,545],"class_list":["post-10245","post","type-post","status-publish","format-standard","hentry","category-article","category-primetime","tag-article","tag-avengers","tag-critique","tag-disney","tag-marvel","tag-opinion","tag-review","tag-vision","tag-wanda","tag-wandavision"],"_links":{"self":[{"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/posts\/10245","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/comments?post=10245"}],"version-history":[{"count":3,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/posts\/10245\/revisions"}],"predecessor-version":[{"id":10250,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/posts\/10245\/revisions\/10250"}],"wp:attachment":[{"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/media?parent=10245"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/categories?post=10245"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tvmeg.com\/index.php\/wp-json\/wp\/v2\/tags?post=10245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}