Watercooler Reviews | WandaVision

Who out there is waiting with barely contained excitement for the return of the MCU? Even if you deny it, I know you are out there; the box-office shattering records of the movies have proved that beyond a doubt. Well, after the longest hiatus the MCU has seen since 2010, the world of Marvel is ready to swing back into action with the first of their Disney+ “blockbuster miniseries” WandaVision.

Here’s the thing though; WandaVision has more going for it than just being the first official MCU property since Spider-Man: Far From Home premiered in theaters in July of 2019, oh so many (what feels like) decades ago. Since Marvel Television was officially folded into Marvel Studios under head producer Kevin Feige’s supervision – this means that everything nominally set in the MCU on the tv side up till now is in a state of Schrodinger’s CanonWandaVision will be the first Marvel tv series that explicitly ties into the greater narrative that as of now only the movies occupied on top of being the first movie/show of Phase 4. This means what happens here in WandaVision will ripple out into other movies and shows, most prominently Doctor Strange and the Multiverse of Madness, in which Wanda Maximoff will apparently have a major role.

To be honest though, I don’t care about that all too much. While I’m not an MCU hater, my interest in the franchise took a nosedive after the Infinity Saga wrapped up. Before I was a completionist, watching every new movie in theaters opening weekend. Now I’m only interested in watching MCU properties that grab my attention (this is less antipathy and more just the energy of keeping up with everything while exploring everything else). But, with that said, out of everything on the Phase 4 slate, the one that has captured my interest the most since I first heard about it was WandaVision.

On paper, WandaVision sounds pretty atypical for an MCU property. It follows Wanda Maximoff (Elizabeth Olsen) after the events of Avengers: Endgame, living with the android Vision (Paul Bettany) in a world that resembles sitcoms over the years. Here’s the thing though; as of Avengers: Endgame, Vision is dead by the hands of Thanos, and Wanda has magical abilities that can rise to the level of warping reality itself. So what might appear on the surface to be a simple show parodying sitcoms over the decades looks to be the vehicle for a grieving woman with the power of a goddess trippily creating the idyllic life she wishes she could live.

Since Doctor Strange, I’ve been waiting for the MCU to really go outside the box and just go nuts both visually and conceptually (though that’s not to say I’m against the more grounded approach they’ve taken over the years). So when I first heard about WandaVision back when it was announced in 2018, my mind was filled with possibilities. Looking at the trailers that have since come out, I’ve only gotten more excited. Not only is this the chance for two criminally under-utilized characters to finally get the spotlight, but it’s looking like it’ll be the most daring story Feige and crew have attempted (which is saying something, since people tend to forget just how risky the MCU was from conception).

One last thing before I start covering the episodes themselves.

While the cast list so far looks to be filled with previously established MCU players from all corners of the franchise, the one that has me interested is the original character Agnes (Kathryn Hahn), the typical sitcom nosy neighbor of Wanda and Vision. While it might be early to predict this, I’m betting that she’ll in fact be the Marvel villain Nightmare, a Doctor Strange enemy and ruler of the Dream Realm. I think this not only because of the ties between WandaVision and Doctor Strange and the Multiverse of Madness but because it is heavily speculated that the villain will be Nightmare. Granted, all of this is speculation, and I could be entirely wrong. That said, doesn’t it make some sense that not only is a dream demon insidiously influencing Wanda’s grief to reshape reality, but that it could appear to her as a stock character who can often provoke feelings of paranoia and anger?

With all that said, I hope you follow along with me as I cover WandaVision for you all.

WandaVision can be watched on Disney+. The series will premier on Friday, 1/15/2021, and will air episodes weekly.

Episode One: Filmed Before a Live Studio Audience

If I had to describe the feeling of the episode, it’s “Lynchian”. And yes, when I say Lynchian, I mean like the works of David Lynch.

At first, everything seems pretty sitcom typical. Wanda and Vision, straight from their wedding, move into their new home in Westview, a typical suburb-like neighborhood. As the episode goes along, it certainly feels like a solid 50’s-style sitcom. The plot is a classic tale of miscommunication. Wanda and Vision are unsure about a certain date on the calendar marked with a heart; Wanda thinks it’s an anniversary while Vision thinks it’s the day his boss Mr. Hart and his wife (Fred Melamed and Debra Jo Rupp) are coming over to the house for a dinner party. From there, shenanigans ensue.

By this point, everything is going smoothly. The chemistry between Olsen and Bettany is rock solid and their comedic timing is surprisingly on-point. The Marvel-flavored gags and jokes, while pretty hokey, are very on-brand for the sitcoms Filmed Before a Live Studio Audience is influenced by.

Then, the weirdness kicks in. Mr. Hart asks Wanda and Vision about the story of how they met after dinner is finally served, and it functionally becomes a nightmarish inquisition – knowingly or unknowingly isn’t quite clear – about her whole reality. To further the point, the cinematography shifts. It goes from a sitcom multi-cam look to something more cinematic. It’s one hell of a stark moment that raises the bar of the episode, taking it from hokey homage to a sinister and melancholic mystery that begs anyone who watches it into diving deeper.

Then, the strangeness is cranked up even more once the credits roll. We zoom out, and then we see we’re watching WandaVision on a screen (as in, someone is watching the sitcom in the miniseries) while a voice is falling out “Wanda, can you hear me?”. It’s an ending that promises some real mind-screwiness and a deeper conflict underneath the saccharine humor of the sitcom, and I’m here for it.

My Recommendation: Recommend

Episode Two: Don’t Touch That Dial

All right Marvel, calm down, you’ve gotten me fully on the hook. Actually, what am I saying, screw that shit, keep ratcheting up whatever is going on in Wanda’s head.

So yeah, while Filmed Before a Live Studio Audience is a fine episode that outlines the premise and mysteries of WandaVision, it’s here in Don’t Touch That Dial that I’m truly sold.

On the surface, Don’t Touch That Dial is just like Filmed Before a Live Studio Audience, just turned up to 11. Wanda and Vision are embroiled in another sitcom plot – ingratiating themselves with the neighborhood by performing at a talent show for the children that goes hilariously awry when Vision shows up essentially drunk on gum – where they get into some wacky yet surprisingly well-executed superpowered shenanigans. The weirdness is amped up, now more of an omnipresent background static with occasional shots of immediacy – like, what the hell is the beekeeper, who left that toy helicopter behind, and how are they connected? – that other people comment on in a dream-like fashion.

Looking deeper though, there’s more to this idyllic life Wanda and Vision are living in. If Filmed Before a Live Studio Audience was about Wanda and Vision starting their lives as newlyweds away from the chaos of typical superheroics, then Don’t Touch That Dial is about Wanda’s desire to have children. At the beginning of the episode, Wanda and Vision sleep together after their awakened by some thundering noise they dismiss as the trees. The talent show they kinda win is for the neighborhood children (side note, if the way the neighbors say “for the children” isn’t a cult red-flag, then I don’t know what is). By the end, Wanda is pregnant with Vision’s child. What’s more, once the pregnancy is definite (as in she’s all of a sudden in her second trimester), the world becomes technicolored, adding vivacity and life to their existence. It’s a great visual metaphor for someone coming out of a depressive state that makes great use of the sitcom style.

So yeah Marvel, keep up the good work. If WandaVision maintains this kind of quality, then it’s safe to say it’ll be the best MCU show since Jessica Jones S1, if not the outright best.

My Recommendation: Highly Recommend

Episode Three: Now in Color

Now that WandaVision has reached the technicolor peaks of the 1970’s sitcom, it’s time the plot both takes a breather and speeds ahead at lightning speed. Plus, you know, heaping on the weirdness like it’s going out of style.

After the last second pregnancy plot development in Don’t Touch That Dial, we get to see how Wanda and Vision deal with the already surreal experience of becoming parents by having the whole experience happen 9 months earlier than anyone could have expected. During this daylong pregnancy, Wanda juggles entertaining Geraldine and dealing with the fruits of her haywire powers (they act up when she’s in some kind of labor) while Vision is either running around for the doctor or dealing with the neighbors. So, you know, per the growing trend Vision plays the hapless dad surprisingly well, superpowered shenanigans drive the more dynamic parts of the episode, the mystery of just what’s happening inside and outside of Westview is growing (it might just be me, but I’m getting some Annihilation vibes), and the world becomes more steadily Lynchian; there’s another 4th-wall breaking glitch on top of the neighbors dropping deliberate and unsubtle hints about being trapped. Really all that’s missing are some Agnes hijinks.

Now while Now in Color doesn’t have that same kind of plot-based verve of Don’t Touch That Dial – other than the cinematic shift at the end and Vision’s brief scenes outside, everything happens inside the house – I like that it is a Wanda-driven character episode. One scene that I bet stands out for everyone is her confronting Geraldine after her twins are born. For the first time since his death way back in Avengers: Age of Ultron, Wanda deals with the pain of losing her twin brother Pietro. During this scene, Wanda bounces from joy to grief-laden melancholy to tranquil fury, all because Geraldine says something that shatters this idyllic dream-life she’s built (emphasis on “built”), giving us a taste of the potential darkness lying within her.

So by the end, my thoughts are that while Now in Color doesn’t exceed Don’t Touch That Dial, it’s definitely keeping the momentum going while pumping more and more fuel into the greater story arc of Wanda Maximoff.

My Recommendation: Recommend

Episode Four: We Interrupt This Program

Man, We Interrupt This Program is one hell of a title that perfectly describes this episode (also, I just found out the episodes actually have titles, so I’ve fixed them throughout the reviews). Instead of following Wanda and Vision within the bounds of Westview, we finally see what’s going on outside Westview. Turns out I was right; outside the town, it’s Marvel’s rendition of Annihilation.

Now, while I wasn’t exactly expecting an episode like this, We Interrupt This Program came in at the right time. While it doesn’t move the story forward at all, this gives so much context to everything we’ve seen before while framing the underlying horror of WandaVision in a new light. Turns out most of the weird shit in Don’t Touch the Dial – the radio voice, the RC helicopter, the beekeeper – were the attempts of the agencies and scientists outside the town attempting to either communicate with Wanda or to see what’s going on inside the town. That and, you know, whatever is surrounding Westview is broadcasting WandaVision to whoever is watching and listening.

After reading some of the discourse online, hopefully this will shut up people complaining that the story is moving too slowly; honestly, I expect the people complaining about the pace will just shift to complaining that this episode was too much like a Marvel movie.

Personally, while I’m more invested in the greater mystery (which is churning along much faster than say Twin Peaks or Lost), I like the snapshot of the greater world we got. While the whole post-Blip world and the inner workings of S.W.O.R.D. are interesting, what caught my attention most were the characters like Darcy and FBI Agent Jimmy Woo. It may not seem like a big deal, but I really appreciated how these bit characters are shown to have gone through whole character arcs; Darcy is now a full-blown astrophysicist after only being an intern, and Woo has climbed the ranks since Ant-Man and the Wasp. It’s a minor thing, but it makes a world of difference when fleshing out the greater MCU.

Also, you can easily tell just how much Marvel has put into the production for these Disney+ shows; this episode looks and feels like something straight out of a Phase 2 Marvel movie, and it’s all due to the production values. That’s not to say stuff like the Marvel Netflix shows didn’t have good production values, but you can tell the movie-side apparatus is fully in gear here.

Also, this look behind the curtain view of WandaVision isn’t limited to outside the town. Near the end of the episode, we relive the confrontation between Rambeau and Wanda after Rambeau talks about Ultron. Not only do we see just how Wanda gets rid of Rambeau, but she then sees Vision as he truly is for a moment; a pallid, animated corpse with his skull caved in from when Thanos ripped out the mind stone. I don’t think it’s an exaggeration to say that visual was the single creepiest thing ever shown in the MCU.

It makes you wonder just what’s going on, and just how much agency Wanda has over everything going on. Now we just have to wait until Friday to resume our normal broadcasts of WandaVision.

My Recommendation: Recommend

Episode Five: On a Very Special Episode…

Well, I hope all the people who seem to have forgotten how to watch TV have been sated for now; on this special episode of WandaVision, appropriately dubbed On a Very Special Episode…, the door has been blown wide open not only for the show but for the MCU as a whole. Like as in this moment will be remembered for years. If you’ve seen the episode, you know what I mean. For now, I’ll hold off on talking about the implications until next week seeing as it’s very likely our surprise guest will play a role similar to another sitcom classic.

For now, let’s just talk about the wild shit in On a Very Special Episode…, like how Wanda for sure has a central role in what’s going on in Westview. As in she’s not a victim; she is in fact the principal agent in manipulating the town (or at least the willing vehicle). And the more we learn, the more horrific it gets. If Rambeau’s testimony and Norm’s horrific moment of lucidity are anything to go by, the people forced to act in Wanda’s sitcom are fully aware they’re being puppeted by some alien interloper but are unable to break free barring some Vision based intervention. It makes me think of Kilgrave way back in Jessica Jones S1 but on a grander, more insidious scale. Even beyond the gaslighting of her husband (or at least, whatever was left of him to reanimate after she fucking stole his body like the hot-lady version of Louis Creed in Pet Sematary), her show of force outside the anomaly when she confronts the S.W.O.R.D. and FBI agents stationed and makes it clear she’s on a slippery slope back to villainy.

But while Wanda’s wrangling with death both in the narrative background (her accumulated trauma and the stuff we’ve already seen) and in the foreground (the sitcom A-plot involving her rapidly aging sons’ dog who dies from azalia poisoning on top of the graverobbing and the end moment), the character who really shined was Vision. As the episode goes on, it becomes clear Vision is wrangling with (his own) death in his own way. After observing the unsettling behavior of Agnes, Herb, and Doctor Neilsen in Now in Color, Vision begins noticing the magnitude of the weird shit going on around him; the fact there are no kids in town, Agnes breaking character and asking to “take to take it from the top” on top of acting blase about the superpowered shit going on in front of her, the fact he can’t remember anything pre-Westview (aka since he died). His slow-motion breakdown, culminating in his confrontation with Wanda after she tries to gaslight his concerns away, is some of his best acting in the MCU. In fact, that whole scene was a tour de force, a true highpoint of the series so far.

So, while I think a greater picture will be revealed in the last 4 episodes, after watching On a Very Special Episode… I wouldn’t be opposed to WandaVision becoming Wanda’s grief-driven supervillain origin story. It would be better than what Legion attempted, that would be for sure. Now, all we have to do is wait and see just how much more world-shattering yet emotional WandaVision can possibly get.

My Recommendation: Highly Recommend

Episode Six: All-New Halloween Spooktacular!

Alright, so last week I said I would wait to discuss the implications of last week’s reveal. So, as promised, let’s talk about Evan Peter’s appearance as Pietro aka Quicksilver. If you have been under a rock for the last week, the significance of Peters is twofold. First, it brings back a character that hasn’t even been mentioned since his sole appearance in Avengers: Age of Ultron. More importantly, this isn’t the Quicksilver we’ve known; this is the Quicksilver that became the breakout character of the X-Men franchise. His appearance marks the biggest superhero crossover in cinematic history, a guest-starring role with a price tag of $71.3 billion, and (potentially) the introduction of mutants into the MCU. So, yeah, that moment was like Cap lifting Thor’s hammer, but it’s a groundbreaking moment that opens the door to near-limitless opportunities as opposed to closing the door on a well-beloved character arc.

So why all this talk of last week’s episode? Well, it’s because by All-New Halloween Spooktacular! Pietro has become part of the Westview Maximoff household. On the surface, he’s the fun-loving man-child uncle the twins idolize. Under the surface, he’s an enigma to Wanda (who tries to puzzle out why he isn’t Aaron Taylor-Johnson) that is not only scarily aware of the inner workings of Westview but also highly appreciative of her horrific methods. It’s hard not to wonder if he’s actually some well-known Marvel demon in the guise of a Pietro. Besides that, Evan’s performance is an episode highlight; he truly sells the fun uncle vibe while being able to be more serious when talking heart to heart with Wanda.

As for the rest of the Maximoff household, the MVP was once again Vision (though that’s not to say Wanda doesn’t get her alternatingly heartbreaking and comic moments). While he goes along with the motions of playing the dutiful sitcom husband when Wanda is around, there’s clearly a rift between the two now. In this case, he gets out of spending Halloween with his family in order to carry out a covert investigation of Westview. What he sees and hears is bone-chilling. Far away from the town square, people go through repetitive motions like a loading video game, with the implication that they’re fully aware of what’s going on, and that’s if they’re moving at all. By the end, he tries to cross the boundary out of Westview and finds himself unable to leave without being ripped apart, leading to another “oh shit” climax with Wanda increasing the range of the hex to save her dead husband. The whole time you can feel Vision’s growing alarm, which Bettany sells incredibly well.

So, to wrap up everything, All-New Halloween Spectacular! isn’t the game-changer We Interrupt This Program and On a Very Special Episode…, it’s still an episode that adds to the greater mystery while offering our intrepid characters plenty of hijinks to get into and schemes to fight against.

My Recommendation: Recommend

Episode Seven: Breaking the Fourth Wall

Aaaand we’re up to the present day. In case you’re wondering what I mean, Breaking the Fourth Wall parodies (and nails, I might add) the mockumentary sitcom format that became popular in the late ’00s and early ’10s, with particular mentions going towards Modern Family and The Office. What happens from here on out in terms of the sitcom format, I don’t know. But to be honest, at this point I’m getting the impression the show-within-a-show format is done; more than anything, Breaking the Fourth Wall is the endgame set-up.

Why, you might ask? Well, we get a bunch of answers to ongoing questions: turns out Hayward’s primary objective is not to save the people (who may be sacrificial) but to revive Vision for his sentient weapons program; Vision is finally clued into his past by an awakened Darcy while the two are traveling and eventually stuck in a funnel cake truck (it makes sense in context); most importantly though, the internet was correct in predicting Agnes was indeed the witch Agatha Harkness, who it turns out is the (or at least, one of the principal) puppetmaster(s) behind the Hex and the collapse of the sitcom. In the process though, we get a bunch of questions; who (or what) is Pietro, and where did he come from; what is causing the reality distortions in the Hex (personally, I think it’s just Wanda overtaxing herself like a computer given too many calculations for a task to properly process, but I could be wrong); just what is Agatha’s motivation; what happened to Monica at the end?

But in the end, I think this episode comes down to the two women at the heart of the show; Wanda and Monica (if you’re wondering why I’m not adding Agatha, it’s because while her reveal at the end is a huge curtain reveal, she’s not the emotional core of the episode narrative). By this point, Wanda is alone: Vision is gone, both from the household and the opening credits; her “brother” is an imposter; the general state of her “quarantine staycation” is reminiscent of a depressive state; and if we weren’t getting the message, the fake commercial is an anti-depressant ad. All she has are her sons and Agatha. But as a counterpoint, there’s Monica, the true hero of the show (at this point I’m considering Wanda an anti-hero at best and villain protagonist at worst). In particular, that whole scene where she charges into the Hex to help a fellow grieving woman despite the costs, reliving the moments that defined her relationship with her mother and almost losing herself. In the end, it’s almost a secondary note she got powers in the process, I just thought that scene was powerful. Like, while I think the whole “It Was Agatha All Along” title scene was nigh perfect, I think Monica charging through the barrier was one of, if not thee current dramatic peak of WandaVision.

So yeah, check out Breaking the Fourth Wall. Its plot may little more than set-up for the final two episodes, but it’s an unquestionable emotional peak.

My Recommendation: Highly Recommend

Episode Eight: Previously On

Now, I don’t know about you, but when I went into Previously On, I didn’t think we were going to have another episode where the plot slows down to provide context akin to We Interrupt This Program. That said, this episode, a deep dive into the tragedies and traumas Wanda has gone through and how they’ve shaped her up to this point along with magical contextualization, is indispensable.

In a nutshell, Agatha is curious about how and why Wanda is so powerful; as a centuries-old witch with all that brings, Agatha not only recognizes that Wanda’s powers are in fact near god-like witchcraft. Not only that, but Agatha is just in Westview to figure out what could create such an extensive magical reality (at least according to her). Frustrated by Wanda’s answers – Wanda says she doesn’t know a lick about witchcraft, let alone mastered it to a degree that would require centuries of training – Agatha drags her through the morass that is her life.

What we get in this journey is a great, if heartbreaking, look at an Avenger who, despite being in 4 movies to date, has had little to no development beyond background bit player. Why does she base her fake reality around sitcoms? Because all her life, from her happy days in Sokovia to her days at the Avengers Compound, she has used sitcoms (from every decade) as an escape, especially from grief. Why did she come to Westview? Because before the events of Infinity War Vision bought a plot to build a house for the two of them, and without anyone around for her and nowhere to go she left for the place she thought she could find happiness. How did the Hex appear and how was Vision resurrected? Wanda, in an outpouring of total grief, not only created the entirety of the Hex but she recreated Vision seemingly on the molecular level – side note, this makes her even more impressive in the face of the common theories on the internet saying Mephisto or some cosmic entity created the Hex for her.

This episode, by putting the whole series in a new context, does for Wanda what Thor: Ragnarok did for Thor and Captain America: The Winter Soldier did for Captain America. It makes her a wholly new compelling character that can (and should) become the face of the franchise going forward, no matter if she ends up on a heroic upswing or descends into full-on supervillainy.

Sure, there are still some mysteries. Just how magical was Wanda as a child? While we know Wanda is a wielder of chaos magic and the Scarlett Witch, we don’t know what either means compared to other magic and magical practitioners we’ve seen. Just where are Monica and Fietro? Will Westview Vision fight White Vision (or proto-Ultron maybe)? Just what in the hell are Tommy and Billy? What is Hayward trying to accomplish? Those, I expect, will be answered next week.

Also, kudos to the performances of Elizabeth Olsen, Kathryn Hahn, and (briefly) Paul Bettany. This episode simply wouldn’t have worked without these performers at the helm. Now all that’s left to do is wait for Friday for what I imagine is the thrilling conclusion of WandaVision.

My Recommendation: Highly Recommend

Episode Nine: The Series Finale

So, after 8 weeks of watching the clock and endless dissection of the minutiae of every frame and every possible comic reference, we’ve reached the series finale of WandaVision, appropriately titled The Series Finale. So, did the finale stand up to all the meteoric expectations that grew almost exponentially over the last (nearly) two months? Honestly, ehh? Kinda?

From a character perspective, I think this is a fine finale. The whole of WandaVision is about examing how Wanda has processed her grief for everyone she’s lost; here, she finally acknowledges not only how unhealthy her sitcom coping mechanism is, but also just how harmful it is to the greater population of Westview. In the end, she learns to accept her grief and grows. She frees the people she’s imprisoned, willingly lets go of her fake family – they disappear once she brings down the Hex – and in the process fully becomes the Scarlet Witch, and if the end credit scene is any indication she’s well on her way to eclipsing the Sorcerer Supreme (aka Doctor Strange) as the most powerful sorcerer around. All in all, barring the fact she doesn’t really see any appreciable consequences in the end for her actions, I’d say Wanda has had a fantastic on-screen journey, going from a bit character to arguably one of the most interesting and compelling characters of the MCU – going forward, the MCU will be Wanda.

Beyond that, the finale falls in my estimation compared to the preceding series.

Most of the fan theories that careened and snowballed across the web ended up as false as Wanda’s sitcom reality; there are no X-Men, Fantastic Four, or multiversal shenanigans, Peters’ Quicksilver was just a meta-cameo, Agatha was solely motivated by acquiring Wanda’s power, Hayward was an all but a mustache-twirling bastard, there was no Mephisto, no Doctor Strange, nothing. Looking at the discussion afterward, I can see fans, especially the more mystery and universe-building Easter egg hungry variety, being massively disappointed that the answers to many of their grandiose theories ending up rather mundane. Honestly, I’m not all that put out by this, since while this kind of theorizing is only good until you actually watch the story unfold, the evolution of Wanda into the Scarlet Witch is forever.

Where the finale was losing me though was in the action and sheer pacing. One emerging trend that rubs me the wrong way is the use of magic on screen. I mean, by definition magic is the reshaping of reality based on the will of the user. The possibilities for application should be limitless, especially with our levels of CGI. Why then do modern magic battles end up with either wizards throwing balls of light at each other or extracting beams of light from each other? It just feels so boring. Sure, WandaVision isn’t the only property guilty of this; this goes back to at least Harry Potter and the Goblet of Fire in my estimation. That said, when these kinds of battles happen my mind either wanders or I just imagine how ridiculous that magic use would look without CGI. Makes me miss the kind of magic from the first few episodes. Also, due to so many threads needing to be closed, some characters like Monica got put to the side. Sure, Monica wasn’t the focus of the story, but I wish she got more to do than knock out Fietro and tank Hayward’s bullets.

In the end, I think The Series Finale falls into the same trap as the finale of Watchmen; after a thought-provoking and intimately character-driven series, the end falls into samey blockbuster territory. That said, even if The Series Finale is a bit more barebones than most people wanted, it caps off WandaVision in a satisfying enough manner to leave me wanting not only more Scarlet Witch, but more MCU Disney+ shows.

My Recommendation: Recommend

Joseph MacMaster

Writer extraordinaire in progress who hangs out with the Chicago Film Scene crew. I screenwrite for my fellow CFS filmmakers. I also write TV and movie reviews, and am a co-host/main writer of the Chicago Film Scene: Live! podcast.

Joseph MacMaster

Writer extraordinaire in progress who hangs out with the Chicago Film Scene crew. I screenwrite for my fellow CFS filmmakers. I also write TV and movie reviews, and am a co-host/main writer of the Chicago Film Scene: Live! podcast.

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