Review: WandaVision tackles the ’70s in its third episode

WandaVision is beginning to feel more like the rest of the Marvel Cinematic Universe, but it’s still a fun romp through the TV of yesteryear.

The first two episodes of the new Disney+ mini-series WandaVision paid homage to American sitcoms of the ’50s and ’60s. This week, the show continues this trend by paying respect to ’70s TV, beginning with an intro that mashes together The Brady Bunch, Good Times and Happy Days. The costume and set design are reminiscent of these shows, and this installment is the first that is entirely in color!

The third entry picks up where the second left off: Wanda is suddenly and unexpectedly pregnant, and she and Vision have to adjust. We get more laughs as Vision stresses over his new responsibility. There’s a hilarious cut-away gag involving Dottie and her husband and a great scene where Wanda tries to hide her pregnancy — and a stork — from her friend Geraldine (Teyonah Parris). Underneath the fun and delight, we get a better look at the sinister plot unfolding just beneath the surface in Westview.

Director Matt Shakman and writer Megan McDonnell should be commended for their work on this episode. Most of it takes place in Wanda and Vision’s living room, and while that could’ve gotten stale quickly, McDonnell keeps the story moving along with drama, humor and sitcom clichés. Shakman, who directed the explosive “The Spoils of War” on Game of Thrones, recreates the feeling of a classic sitcom through shot composition and framing, and the use of practical effects is a nice touch.

Elizabeth Olsen and Paul Bettany continue to wholeheartedly throw themselves into the show’s sitcom aesthetic. Supporting characters get their spotlight, too, as both Kathryn Hahn and Teyonah Parris return to deliver the most ominous scenes of the series yet. Even David Payton’s brief appearance as Herb is unsettling; we get an unnerving scene with him involving a pair of hedge trimmers.

Speaking of unnerving, the most interesting part of the episode comes near the end. After Wanda gives birth to twins, she mentions to Geraldine that she is also a twin. This prompts Geraldine to ask about Pietro and Ultron. Until this point, there haven’t been many references to the rest of the Marvel Cinematic Universe, especially not explicit mentions of Wanda’s past. Olsen is at her best during this scene as Wanda gets aggressive, even going so far as to force Geraldine out of Westview and back into the real world. The show is connecting itself back to the broader movie universe.

There are also some clever Marvel Easter eggs hidden in this episode. Geraldine’s necklace is clearly a reference to the intelligence agency S.W.O.R.D., which is kind of like S.H.I.E.L.D. but for extraterrestrial security. Wanda and Vision’s twins, Tommy and Billy, are named after their comic book counterparts, and we get another fake commercial advertising Hydra Soak soap. Hydra, obviously, is the organization that captured and experimented on Wanda and Pietro. Keep an eye on those ads.

The darker undercurrents of WandaVision continue to be the most intriguing thing about it. One moment we’re celebrating the birth of the couple’s twins, and in the next the mood is tense and disturbing. It was clear from the first two episodes that this tone shift would be a reoccurring element of the show, and the cracks are getting wider.

While the show’s sitcom-style is still enjoyable, the novelty is beginning to wear thin, especially now that we’re being tempted with direct connections to the rest of the MCU. Still, the mystery of what exactly is going on — together with the superhero couple’s outrageous hijinks — are still the main driving force of WandaVision. We cannot wait to see what the duo gets up to next week and how the show will tackle the ’80s.

Grade: B+

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