Talking Movies [Captain America Month]: Captain America: Civil War


First appearing in 1941, Marvel Comics’ star-spangled super soldier, Steve Rogers/Captain America, has become one of Marvel’s most recognisable and celebrated characters not just for his super patriotism but also for being a prominent member and leader of Marvel’s premier super team, the Avengers. Having successfully made the jump to live-action, Cap is now a widely celebrated, mainstream superhero and, since American’s celebrated Independence Day this month, what better way to celebrate this than by spending every Tuesday in July paying tribute to the star-spangled man with a plan himself!


Released: 6 May 2016
Director: Anthony and Joe Russo
Distributor: Walt Disney Studios Motion Pictures
Budget: $250 million
Stars: Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Elizabeth Olsen, Daniel Brühl, and Chadwick Boseman

The Plot:
After saving the world from a near-extinction event, Steve Rogers/Captain America (Evans) and Natasha Romanoff/Black Widow (Johansson) work alongside a new team of Avengers. However, Wanda Maximoff’s (Olsen) unpredictable powers damage their credibility and spell the end of the team unless they agree to fall under the jurisdiction of the world’s governments. This causes tensions between Steve and the other Avengers, particularly Tony Stark/Iron Man (Downey Jr.), that are only further exacerbated when Helmut Zemo (Brühl) activates James Buchanan “Bucky” Barnes/The Winter Soldier’s (Stan) brainwashing and inspires a conflict within Earth’s Mightiest Heroes.

The Background:
Considering that Captain America: The Winter Soldier (Russo and Russo, 2014) was such a massive hit and that, by 2016, the Marvel Cinematic Universe (MCU) had basically become an unstoppable franchise juggernaut, a third Captain America movie was never in question. The first film of Phase Three of the MCU was originally revealed under a very different title before it was revealed to be taking inspiration from the controversial storyline of the same name. Pitched as a psychological thriller, Captain America: Civil War quickly became the biggest solo Marvel movie when many returning characters and Avengers signed on to feature. The film saw not only the debut of a new team of Avengers and the introduction of T’Challa/Black Panther (Boseman) but also the long-awaited inclusion of Peter Parker/Spider-Man (Tom Holland) to the MCU. The directors lobbied hard to include Spider-Man and, after much negotiating, Marvel were able to reach an agreement with Sony Pictures to recast and share the character. Though ostensibly Avengers 2.5, Captain America: Civil War was incredibly successful; it made over $1.150 billion and was the highest-grossing film of 2016. Like its predecessor, the film was almost universally praised; while some criticised the film’s bloated cast and premise, many were impressed with the film’s action and intrigue and the dramatic way it fractured the Avengers to set the stage for the MCU’s biggest film yet.

The Review:
I honestly can’t say that I really had much of a reaction when I found out that the third Captain America movie wouldn’t be tackling the Serpent Society; I only really know the group from the Avengers: Earth’s Mightiest Heroes (2010 to 2012) cartoon, where I found them to be annoying and over-used. However, I was a bit concerned when it was revealed that Marvel Studios would be adapting the “Civil War” (Millar, et al, 2006 to 2007) storyline as not only was I not a fan of how out of character everyone (especially Iron Man) acted in that story but the MCU Avengers had just ended Avengers: Age of Ultron (Whedon, 2015) on a high note and, like the downfall of the Strategic Homeland Intervention, Enforcement and Logistics Division (S.H.I.E.L.D.), it seemed a bit too soon to be tearing these characters apart when they were still so new as a group.

Cap’s efforts to train a new Avengers team are disrupted when his loyalties are divided.

One thing I’ve always found odd about the “Civil War” storyline is the fact that Captain America, the living embodiment of America’s ideals, is the one fighting against the government and Stark, the arrogant industrialist who actively spits in the face of governmental boards, is the one pushing for registration and culpability. Yet, it sends a clear message when the bastion of truth and freedom finds something oppressive about the ruling body and Steve is a proud man who sees the world in old-fashioned shades of black and white and has learned enough about the modern world to become suspicious of those who wield too much political power and who just wants to do the right thing without compromise. The trailers and hype for the film excited me and I was keen to see a Marvel solo movie featuring so many additional costumed characters in supporting roles as I am a big fan of that in my superhero movies after years of them all living in isolated bubbles. Plus, even with the expanded cast, the film remains, at its core, a Captain America story and is completely focused on Cap’s divided loyalties between his Avengers team-mates and his old friend-turned-brainwashed assassin, Bucky. Cap begins the film as the field commander of the newly-formed team of Avengers we first saw at the end of Age of Ultron; as always, he is all business when on the job and determined to teach the younger members of the team, like Wanda Maximoff, how to best scope out potential targets and situations and build a rapport as a team.

Wanda’s unpredictable powers are the catalyst for the film’s events.

The catalyst for the eventual conflict within the Avengers is Wanda; unlike the other members of the Avengers, she’s still very young, inexperienced, and an outsider. Add to that the fact that her “Hex Powers” are both unpredictable and volatile and she is a bit of a powder keg, despite her generally calm and composed demeanour. Deep down, she just wants to help people and do the best she can so, when she instinctively uses her powers to hurl Brock Rumlow/Crossbones (Frank Grillo) into the air to keep his suicide bomb from killing innocents, she is devastated when her throw goes awry and kills several Wakandan humanitarians. Although Steve tries to console her, rightfully pointing out that no-one, however (super)powerful can save everyone, she only really feels a connection with the Vision (Paul Bettany), another being born of an Infinity Stone to whom she has grown very close and who desires to not only explore his abilities and humanity but who also seeks to understand the nature of the Infinity Stone embedded in his forehead.

The Avengers are divided on the Sokovia Accords, which would see them conform or retire.

Cap’s team is also comprised of his friends, Sam Wilson/The Falcon (Mackie) and Black Widow. Now much more comfortable in his role as a superhero, the Falcon has built a camaraderie with the other Avengers and is a vital member of the team thanks to his drone, Redwing, and his specialised flight suit, both of which allow him to provide unprecedented air support. Natasha, meanwhile, continues to be an absolute bad-ass in the field, striking with speed, precision, and power, while also sharing the responsibility of teaching Wanda how to conduct herself out in the field. They, and many of their team mates, live and train at a specialist compound, paid for by Stark’s not-inconsiderable funds. Stark, meanwhile, has semi-retired from the superhero life and is only brought back into the fold after the incident in Lagos which, especially after the devastating events in Sokovia in Age of Ultron, call into question the unchallenged actions of the Avengers. Thus, in a continuation of his growing sense of impending cosmic danger and his desire to protect the planet by any means necessary (and due to his guilt at being responsible for collateral damage caused by the Avengers’ actions), Stark is immediately onboard with the “Sokovia Accords”. Although Thaddeus “Thunderbolt” Ross’s (William Hurt), now promoted to Secretary of State, acknowledges that the world owes the Avengers an unpayable debt, he stresses that they must register to answer to a democratic committee before acting so that they can be properly held accountable for their actions. The Sokovia Accords rattle each member of the team in different ways based on their previous experiences and relationships; James “Rhodey” Rhodes/War Machine (Don Cheadle) and the Vision, for example, look at the numbers and the orders and, influenced by their relationship with Stark, believe that signing the Accords is the only logical action whereas Sam is adamant that it will only be a matter of time before the government screw them over.

Zemo plots to destroy the Avengers from the inside out and is focused only on his vengeance.

Steve, ever the soldier and pragmatist, argues against “[surrendering] their right to choose” and his conviction to take a stand against being controlled, even by the United States government, is galvanised after the death of his former flame, Peggy Carter (Hayley Atwell), who firmly believed in standing up for her beliefs. However, when it appears as though Bucky has attacked the ratification of the Accords and killed the peace-affirming Wakandan king, T’Chaka (John Kani), Steve makes it his mission to personally track down his former friend and bring him in before he can be arrested by the authorities. T’Chaka’s son, T’Challa, overwhelmed by grief and bloodlust, dons the ceremonial Vibranium suit of the Black Panther to hunt down and kill Bucky, causing tensions to bubble to boiling point. It is into this tumultuous storm of ideals, emotions, and conflicting beliefs that Zemo enters the fray. A survivor from Sokovia who relentlessly goes on a hunt torturing and murdering Hydra operatives to acquire “Mission report. December 16. 1991”, a document that proves the final spark to ignite the titular civil war within the Avengers. Zemo has acquired the Soviet’s book of codewords and is able, through his charm and false documents, to gain access to Bucky after he is arrested and activate him in order to acquire the information he seeks. Bucky, who has been living off the grid and on the run since the end of The Winter Soldier, continues to suffer from decades of cryogenic stasis, manipulation, brainwashing, and memory wiping, which have made him a confused and purely instinctual creature. Although Steve still remembers their time together as friends and the entirety of Bucky’s past, Bucky is haunted by fragmented memories of his time as an assassin and naturally paranoid, lashing out at friend and foe alike when they try to reach him.

Everyone, especially Black Panther, is after Bucky thanks to Zemo’s machinations.

While Wanda shoulders a lot of the guilt for what happened in Lagos, Steve feels he is also to blame as he was distracted by Rumlow’s mention of Bucky. Still, he is steadfast that what he, and the other Avengers, do cannot be regulated by a governing body, especially after how deeply entrenched Hydra was into S.H.I.E.L.D. This causes a clash of ideals and beliefs between and Stark; showing his partial growth as a character, Stark is now more than willing to compromise and work within the system to keep them in check and also to ensure that the team stays together but Steve is adamant that they shouldn’t have to answer to anyone lest they be stopped from intervening where they are most needed. While the Sokovia Accords themselves probably would have divided the Avengers enough to cause some kind of conflict, they potentially wouldn’t have come to blows if it wasn’t for Zemo’s manipulations and Bucky’s apparent culpability in T’Chaka’s death. When he comes to his senses, Bucky reveals that he was just one of many Winter Soldiers created by the soviets and that Zemo was responsible for the bombing at the ratification. Stark, however, remains oblivious to the deception that has taken place and takes it upon himself to lead his allies in apprehending Bucky, even if it means recruiting the young and relatively untested Spider-Man to help throw Cap off his game and fighting against his allies for the greater good. Steve, realising that he is now, once again, a fugitive, puts together a team of his own to defend Bucky and fight their way to uncovering and exposing Zemo’s plot. To this end, he recruits Clint Barton/Hawkeye (Jeremy Renner) and, on Sam’s suggestion, Scott Lang/Ant-Man (Paul Rudd) to help him out, and such is the strength of Captain America’s conviction and fortitude that he is able to convince ex-cons like Scott, retired heroes like Clint (both of whom have familial responsibilities), and Agent Sharon Carter (Emily VanCamp) to put themselves and their careers at risk to help his cause.

The Nitty-Gritty:
Being as it’s basically an Avengers movie in disguise, Captain America: Civil War is a natural escalation of The Winter Soldier in every way. As a result, it’s bigger and far more intricate and bombastic than the previous Captain America movies but, arguably, maybe not the definitive ending to a trilogy of standalone movies in the same way as, say, Iron Man 3 (Black, 2013) tried to be. However, there is a very good reason for this and that is that, at this point, MCU movies were much more about focusing on a singular hero but also expanding their shared world exponentially in the lead-up to their biggest movies ever. Despite its heavy subject matter and action-packed events, the film also has time for absolute tone-perfect comedy; Bucky and Sam’s reaction to Steve’s admittedly awkward kiss with Sharon, Scott’s gushing over meeting Captain America and the other Avengers, and Spider-Man’s incessant quips and references during the big airport fight all brilliantly break the tension and add some pitch-perfect levity to the film.

Tom Holland made an immediate and exhilarating impression as the all-new Spider-Man.

Of course, one of the main selling points of the film is the climatic fight between Team Cap and Team Iron Man and the introduction of Spider-Man to the MCU. As much as I loved Andrew Garfield in the role and still think it would’ve been a lot simpler and easier to simply fold him and the Amazing Spider-Man films (Webb, 2012 to 2014) into the MCU, casting a younger actor as an inexperienced version of the character was a great way to introduce Spider-Man with a clean slate and Tom Holland played the role to perfection. Although enthusiastic about getting a shot to team up with heavy-weights like Iron Man and the Vision and eager to impress both Stark and the Avengers, Spider-Man is in way over his head; still he holds his own and delivers both quips for days and some of the best web-slinging in just one big fight scene even after (at the time) nearly fifteen years of Spider-Man movies. Though young and operating in a homemade suit that allows him to use his powers responsibly, Peter is still portrayed as something of a child prodigy as he manufactures his own webbing and web shooters and, despite not mentioning his beloved Uncle Ben by name, has the same strict moral code as any other iteration of the character, making for perhaps the most well-rounded portrayal even after many decades of Spider-Man adaptations.

The fight between the two teams soon escalates when Rhodey is critically injured.

The clash between Team Cap and Team Iron Man isn’t just about Spider-Man, though, or even Steve and Stark; instead, it’s a reluctant fight between close friends and allies, many of whom use known weaknesses against their team mates in order to gain a bit more ground. While you might think that a guy like Hawkeye is no match for the Vision, his various trick arrows do a decent job of disrupting the synthezoid and burying Iron Man beneath a pile of cars. Similarly, Cap is technically physically outmatched and reluctant to fight against a teenager like Spider-Man but is able to best him using his shield and distracting him with falling debris. Another star of the conflict is Ant-Man who, in addition to enlarging vehicles with Pym Particles, makes an entertaining and amusing debut as Giant-Man, and we even get to see Hawkeye and Black Widow go at it, albeit with an acknowledged reluctance. Even Stark doesn’t actually want to fight; he brings his team to the airport to convince Cap to stand down out of respect for their friendship and for the sake of the team, and specifically orders them to subdue their former allies rather than grievously harm them. However, despite this, and as entertaining as this clash between the two groups of Avengers is, things end up becoming much too real when an errant shot from the Vision ends up crippling Rhodey from the waist down, which only adds further fuel to Stark’s fire.

Cap is forced to defend Bucky from Stark in the finale as the Avengers implode from within.

Both Steve and Stark make compelling arguments for and against signing the Sokovia Accords but, as is to be expected of the storyline and these larger than life characters, take their argument to the extreme. In the source material, this led to Stark hunting down and imprisoning his fellow heroes in the ultimate act of uncompromising betrayal, becoming something of a tyrant in the process. Here, he doesn’t go quite that far until he has absolutely no other choice; despite his grating personality, it’s clear that Stark sees Steve and the others as trusted friends and allies and like Natasha, is more than willing to compromise to keep the team together, in check, and to advocate for amendments to the Accords later down the line. However, both Steve and Stark are pushed too far when the others continuously refuses to see things from their perspective and to compromise their integrity or conscience. After the climatic airport fight, however, and the truth of Zemo’s manipulations is revealed, Stark swallows his pride and heads to Siberia to investigate the other Winter Soldiers. Unfortunately, his conflict with Steve and Bucky is reignited when it is revealed that Bucky was brainwashed into killing Howard and Maria Stark (John Slattery and Hope Davis, respectively) to acquire super soldier serum for the Soviets. Stark’s introduction to the film, and a major sub-plot of his previous appearances, dealt with his unresolved issues with his father and, upon learning that both of his parents were taken from him, he flies into a mindless rage and attacks the two in a fantastically realised and emotional fight scene. Though torn between his friendship with Stark and his loyalty to Bucky, Steve ultimately has no choice but to choose to defend his old friend in order to get him the help he needs and, in the process, Zemo’s master plan succeeds as the Avengers are torn apart and Cap gives up his shield to go on the run with Bucky.

It’s a bittersweet ending as the Avengers are left divided and scattered thanks to Zemo’s efforts.

This finale is the perfect culmination of a film that is packed full of fantastic action sequences and fight scenes; expanding upon the brutal, gritty action of The Winter Soldier, Civil War continues to deliver some hard-hitting action from the likes of Cap and Black Widow, especially. Their fight against Rumlow is a great way to open the film and, following an equally engaging conflict of ideologies and beliefs, the action only escalates as Steve desperately tries to reach Bucky and bring him in independently only to end up fighting against the German police in a cramped stairwell and racing across the rooftops and streets of Berlin. Black Panther joins the battle for this latter sequence in a brilliant introduction to the character that only scratches the surface of his physical capabilities. Unlike other MCU villains who, by this point, showed glimmers of complex personalities and had somewhat multi-faceted personalities but were often just dark mirrors of the titular heroes, Zemo is quite the layered villain. Unlike his comic book counterpart (who, visually, he wouldn’t come to resemble for some time), Zemo isn’t some crazed fascist dictator or maniacal supervillain. Instead, he’s a former Sokovian soldier haunted by the loss of his family in Sokovia due to the Avengers’ actions and who wants to bring them down from the inside out in order to ensure that they never again threaten the safety of innocents. Simultaneously, Zemo has no love for Hydra either and wishes to see both costumed heroes and villains made a thing of the past; he also views his crusade to be a suicide mission as, once he sees Iron Man driven to the point of murderous rage, he considers his mission complete and prepares to kill himself. He is stopped, however, by Black Panther who, having witnessed the Avengers tear themselves apart over grief and rage, chooses to spare his father’s killer and see him brought to true justice. The damage, however, is done; even though the film ends with Cap going to rescue his friends from imprisonment on the Raft and offering an olive branch to Stark, the Avengers are effectively disbanded and wouldn’t come together again until the greatest threat imaginable came knocking.

The Summary:
As brilliant as the last two Captain America films were, Captain America: Civil War was a massive escalation for the character. In many ways, you could make the argument that Marvel Studios could have had the third Cap film focus solely on his hunt for Bucky and made a third Avengers movie for the “Civil War” storyline, but it does a surprisingly good job of balancing its different characters and themes. None of the extra Avengers or the wider conflict between them overshadow Cap’s story or the continuation of his character arc and story with Bucky and, if anything, all of the different conflicts and personalities help to bolster this narrative. At its core, Civil War is a film about secrets, truths, and complex ideologies; both Steve and Stark have valid points for and against superhero registration and Bucky is a tortured soul responsible for an untold number of tragedies and atrocities and yet he wasn’t in full control of himself and was forced into perpetrating those acts and that, as much as their friendship, motivates Steve to protect him to see that he gets help rather than be unjustly imprisoned or killed. Black Panther vows to kill Bucky to avenge his father but chooses to spare Zemo when he learns the truth, showing a fundamental moral compass that helps to define him in his brief screen time. Stark is also driven to avenge his parents when he learns that the Winter Soldier killed them and the result is the complete fracturing of any trust between him and Steve, disassembling the Avengers and, similar to the destruction of S.H.I.E.L.D. in The Winter Soldier, fundamentally changing the nature of the MCU to ensure the stakes are as dire as possible for when Thanos (Josh Brolin) comes calling. As under-rated a gem as Captain America: The First Avenger (Johnston, 2011) is and as impressively thrilling as The Winter Soldier is, Civil War edges both out in terms of sheer spectacle and showed that even a solo MCU film could have Avengers-level implications for Marvel’s shared universe.

My Rating:

Rating: 5 out of 5.

Fantastic

Were you a fan of Captain America: Civil War? What did you think to the conflict between Steve and Stark and were you on Team Cap or Team Iron Man? Did you enjoy seeing the other Avengers in the film or do you feel like it got a bit too crowded for a Captain America movie? What did you think about Zemo, his character and motivations, and Bucky’s overarching story? Are you a fan of the “Civil War” comic book? Did you enjoy the debut of Black Panther and Spider-Man? What did you think to the decision to tear the Avengers apart at that stage in the larger MCU story? Are there any Captain America stories and villains you would have liked to seen make it to the big screen? How have you been celebrating the Star-Spangled Avenger this month? Whatever you think about Civil War, or Captain America in general, drop a comment down below.

Screen Time [Multiverse Madness]: What If…? (Season One)


In September 1961, DC Comics published “Flash of Two Worlds” (Fox, et al), a landmark story that brought together two generations of the Flash: the Golden Age Jay Garrick and the Silver Age Barry Allen thanks to the concept of the multiverse, an infinite number of parallel universes that allowed any and all stories and characters to co-exist and interact. Marvel Comics would also adopt this concept and, to celebrate the release of Doctor Strange in the Multiverse of Madness (Raimi, 2022) this month, I’ve been both celebrating the Master of the Mystic Arts and exploring the Marvel Cinematic Universe’s (MCU) equivalent of the multiverse every Sunday of May.


Air Date: 11 August 2021 to 6 October 2021
Network: Disney+
Stars: Hayley Atwell, Chadwick Boseman, Samuel L. Jackson, Benedict Cumberbatch, Mark Ruffalo, Michael B. Jordan, Chris Hemsworth, Ross Marquand, and Jeffrey Wright

The Background:
As a big comic book fan, it’s been absolutely amazing seeing the MCU become a multimedia juggernaut and some of Marvel Comics’ most beloved characters and concepts come to life on screen. Although Marvel Studios dabbled in television ventures with the likes of Agents of S.H.I.E.L.D. (2013 to 2020) and their Netflix shows, they really doubled down on TV productions for the MCU’s fourth phase to produce content for their parent company’s streaming service, Disney+. With MCU head honcho Kevin Feige behind them, the Disney+ shows aimed to maintain and expand the ongoing continuity of the MCU, but I don’t think anyone could have predicted that Marvel Studios would delve so deeply into the multiverse that we’d seen an adaptation of What If…? What If…? began life as a semi-consistent series of hypothetical, often light-hearted (or downright dark), stories that presented Marvel heroes and storylines with subtle (or major) changes. The Disney+ show followed this format and recontextualised the premise as an animated anthology series that would explore what the MCU would be like if characters or events had unfolded differently. The show’s animation was headed by Stephan Franck and sported a cel-shaded design that emphasised hyper-realism; as the MCU was officially exploring the concept of the multiverse, episodes could be part of the franchise’s overall canon and many recognisable faces, names, and voices returned to put a new spin on their iconic roles; however, although voice recording was able to continue remotely during the COVID-19 pandemic, this production sadly marked the final performance of the late Chadwick Boseman as T’Challa/Black Panther. What If…? was received extremely well and the series was praised as a love-letter to the fans; despite some reservations about the format and presentation, reviews were primarily positive and spin-offs were quickly announced as either being in production or on the cards. Crucially, the multiversal scope of the series would be revisited in the live-action MCU films and characters and concepts from the show even seem set to cross over into the main MCU canon going forward.

The Plot:
From beyond the multiverse, the cosmic being known as Uatu the Watcher (Wright) observes as the events of the MCU unfold differently, resulting in Peggy Carter (Atwell) becoming Captain Carter, Doctor Stephen Strange (Cumberbatch) becoming a force for evil, a zombie infection running rampant, and T’Challa (Boseman) becoming Star-Lord. However, when a version of Ultron (Marquand) acquires the Infinity Stones and threatens the entire multiverse, the Watcher must break his oath of non-interference to assemble a heroic force capable of fending off this threat.

The Review:
Because of the nature of the series, I think it’d be much better to look at each individual episode, what they do and how they work by themselves, and then talk about some overall themes and give my opinion on the entire concept down in the summary. The first season of What If…? is a nine-episode series of animated adventures that examine familiar characters and events in the MCU but change things about in subtle, or major, ways to create entirely new stories as part of the MCU multiverse. These alternate realities are observed by the enigmatic Watcher, a cosmic being bound only to observe and never directly interfere, and who acts as the narrator of the show. The Watcher’s opening narration explains the basics of the multiverse; as we were told in Avengers: Endgame (Russo and Russo, 2019), time and reality in the MCU is not a single, linear, fixed path. Instead, multiple timelines and alternate universes exist, with the deviations occurring from different decisions being made at key moments in time, however big or small. In this regard, time is less like a line and more like a river, with an infinite number of paths trailing off all over the place, and the Watcher acts as our impassive guide to this vast multiverse. The Watcher also serves as our narrator, quickly catching us up on the events preceding the episode and explaining when, where, and how each divergent timeline was created; however, he has taken a solemn vow to never interfere in the events he witnesses, no matter how gruesome or extreme they are.

Peggy takes Steve’s place and is forced to make the ultimate sacrifice to stop Hydra’s interdimensional beast.

The series kicks off with “What If…Captain Carter Were the First Avenger?” (Andrews, 2021), essentially a retelling of Captain America: The First Avenger (Johnston, 2011). Unlike in the original timeline, Strategic Scientific Reserve (SSR) Agent Peggy Carter chooses to stay and watch on the ground as skinny, ill-bodied Private Steve Rogers (Josh Keaton) prepares to become a super soldier. However, when the Nazi sleeper agent attacks the experiment this time around, Peggy manages to keep him from escaping with a sample of the serum but Steve is wounded, so Peggy ignores the orders of her commanding officer, John Flynn (Bradley Whitford), and voluntarily becomes enhanced to the peak of human physical conditioning before the experiment is lost forever. Promoted to head of the SSR, Flynn is outraged at the result; disgusted that the super soldier serum was wasted on a woman, he refuses to allow Peggy to actively participate in the war, much less on the front line, out of sheer prejudice, much to her chagrin and fury. As before, Hydra figurehead Johann Schmidt/The Red Skull (Marquand) seeks to usurp Adolf Hitler and claim victory for himself with the mysterious and all-powerful Tesseract. Flynn, however, is unimpressed by the threat and unwilling to risk even one man, let alone an entire platoon, on recovering the cube; luckily, inventor Howard Stark (Dominic Cooper) believes so strongly in the Tesseract’s threat that he furnishes Peggy with a striking Union Jack-style costume and a familiar Vibranium shield so that she can single-handedly recover the Tesseract from Schmidt’s Hydra colleague, Doctor Arnim Zola (Toby Jones), decimating an entire convoy of Hydra’s soldiers with efficiency and glee and earning herself an official promotion to “Captain Carter”. Although he lost his best shot at fighting alongside his friend, Sergeant James Buchanan “Bucky” Barnes (Sebastian Stan), Steve is fully supportive of Peggy’s newfound strength and abilities and only too glad to pilot Stark’s Tesseract-powered “Hydra Stomper” armour. However, following an action-packed montage, Steve is apparently lost during a familiar assault on an armoured train; though grief-stricken, Peggy forces information out of Zola and leads an all-out assault against the Red Skull’s fortress, where they find Steve alive but are too late to stop the Red Skull from opening a dimensional rift with the Tesseract. The tentacles of a gigantic, interdimensional, Lovecraftian creature breach the portal, killing Schmidt and threatening all life on Earth; Peggy and Steve fend off the beast as Stark tries to shut down the portal, but Captain Carter is forced to sacrifice herself to the unknown by physically forcing the creature through the rift. The story then skips ahead to find the Tesseract being reactivated, spitting Peggy and the remains of the beast’s tentacles out into a Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) facility where she meets Director Nick Fury (Jackson) and Agent Clint Barton/Hawkeye (Jeremy Renner) and learns the bittersweet news that the Allied Forces won the war but she is now seventy years in the future, and thus forever cut off from her friends and loved ones.

T’Challa is a galaxy-renowned force for good who has a positive influence on even the Mad Titan himself!

While the first episode arguably played things a little safe, we really see the potential of a What If…? series with the second episode, “What If…T’Challa Became a Star-Lord?” (Andrews, 2021), which wildly deviates from the story of Guardians of the Galaxy (Gunn, 2014). Young T’Challa (Maddix Robinson) longed to explore beyond Wakanda but was shielded from the chaotic outside world by his beloved and overprotective father, T’Chaka (John Kani), only to be abducted due to a mistake by Yondu Udonta’s (Michael Rooker) subordinates. Surprisingly, he was excited at embarking on adventures throughout the cosmos with the Ravagers and, while T’Challa doesn’t possess the Black Panther’s near-superhuman abilities, he sports all of Peter Quill’s (Brian T. Delaney) gadgets in addition to his Wakandan fighting prowess. His greatest assets, however, are his charisma, diplomacy, and reputation as a Robin Hood-type figure. Indeed, T’Challa is far more competent, notorious, and respected than his mainstream MCU counterpart; not only does Korath the Pursuer (Djimon Hounsou) know who he is, he views sparring with Star-Lord as the greatest honour and willingly joins his crew. T’Challa’s positive influence means the Ravagers put their skills towards helping others rather than for personal reward, thus sparing Drax the Destroyer’s (Fred Tatasciore) family and even convincing Thanos (Josh Brolin) that his destructive aspirations weren’t the answer to the galaxy’s problems! Touched by T’Challa’s mission to save others after the presumed destruction of Wakanda, Nebula (Karen Gillan), now a far less violent and far more beautiful woman, proposes a heist to steal the Embers of Genesis, a cosmic dust capable of ending galactic hunger, from Taneleer Tivan/The Collector (Benicio del Toro). While sneaking around the Collector’s museum, T’Challa finds a Wakandan spacecraft and is angered to find that Yondu lied to him about Wakanda in order to help him realise his true calling as an adventurer. The two reconcile in the best way possible: by teaming up to fight with this much more formidable version of the Collector, who is enhanced by weapons, technology, and items retrieved from some of the MCU’s most powerful and prominent individuals and races. Thanks to their teamwork, the Collector is disarmed and left at the mercy of his captives, and T’Challa forgives Yondu’s deception before reuniting with T’Chaka and his people in Wakanda, bringing his two families together in celebration over their mutual friend. Across the world, however, a greater threat awaits when Ego (Kurt Russell) comes looking for his son, here a mere Dairy Queen employee.

Pym is revealed as the culprit but, after taking him into custody, Loki usurps his threat and conquers the world!

“What If…the World Lost Its Mightiest Heroes?” (Andrews, 2021) takes us back to the middle of Iron Man 2 (Favreau, 2010) and Nick Fury and Natasha Romanoff/Black Widow’s (Lake Bell) latest effort to recruit Tony Stark/Iron Man (Mick Wingert) to the Avengers Initiative. Fury is horrified when his attempt to stave off Stark’s palladium poisoning apparently has the unexpected side effect of killing the would-be Avenger; this tragedy is quickly followed by Thor Odinson (Hemsworth) being accidentally killed by Hawkeye’s errant arrow and the archer later being found dead while locked in an impenetrable S.H.I.E.L.D. cell. Fury suspects that his recruits are being targeted by an unknown party, and charges Natasha to escape Brock Rumlow’s (Frank Grillo) custody and make contact with Doctor Betty Ross (Stephanie Panisello). Though initially distrustful of Natasha due to her association with those who’ve hounded her friend, colleague, and former lover, Doctor Bruce Banner/The Hulk (Ruffalo), Betty is convinced to take a closer look at the injector used on Stark and theorises that a microscopic projectile fired from the needle killed the superhero. Hungry for blood after learning of Hawkeye’s death, Natasha agrees with Fury’s theory that their killer is targeting Avengers recruits; unfortunately, General Thaddeus “Thunderbolt” Ross (Mike McGill) arrives looking to arrest Banner and sparks his transformation into the rampaging Hulk as in his solo film. However, the seemingly immortal Green Goliath also falls victim to the mysterious killer when he violently explodes from the inside out, and things escalate even further when Loki Laufeyson (Tom Hiddleston) arrives looking to avenge Thor’s death. Fury manages to buy himself one day to solve Thor’s murder on the promise of delivering the culprit to the God of Mischief and, when Natasha finds that a dead agent’s credentials were used to access S.H.I.E.L.D.’s database, she’s brutally beaten to death by an unseen assailant, and only able to tell Fury that all the deaths are relating to “hope”. This, however, is enough to piece together the perpetrator’s true identity: Doctor Hank Pym (Michael Douglas), who targeted Fury’s recruits in the guise of the size-altering Yellowjacket after his daughter, Hope van Dyne (Evangeline Lilly), died while working for S.H.I.E.L.D. A broken, bitter, twisted old man, Pym blames Fury and has become a deranged killer due to his grief and anger. However, Pym and his tech are outmatched when Fury is revealed to be Loki in disguise but, after Pym is defeated and taken into Asgardian custody, Loki double-crosses Fury and declares himself ruler of humanity. To combat this threat, Fury gets back to work assembling his super team, starting with calling Carol Danvers/Captain Marvel (Alexandra Daniels) back to Earth and uncovering Captain America’s frozen body.

A grief-stricken Dr. Strange finds he cannot save his love no matter how many times he tries to alter the past.

The show shifts over to the world of magic and mysticism for “What If…Doctor Strange Lost His Heart Instead of His Hands?” (Andrews, 2021), which presents a world where Dr. Strange and Doctor Christine Palmer (Rachel McAdams) are still a couple in a loving relationship. Fully supportive and enamoured by Dr. Strange, Christine encourages his ego and his skills as a surgeon, but sadly her influence doesn’t extend to his driving skills. However, in this world, Dr. Strange is relatively unharmed from the car crash that took his MCU counterpart’s hands but is left grief-stricken when Christine dies as a result of his negligence. In a bid to fill the void in his life, and his heart, Strange travels the world and, once again, ends up studying the mystic arts at Kamar-Taj under the tutelage of the Ancient One (Tilda Swinton). Like his mainstream counterpart, Strange becomes the Master of the Mystic Arts after the Ancient One’s death and successfully bargains with the Dread Dormammu (Cumberbatch), but remains preoccupied with the mistakes of his past and the promises offered by the Eye of Agamotto’s time-bending abilities. Haunted by memories of happier times with Christine, Strange ignores the warnings of the Ancient One and his manservant, Wong (Benedict Wong), and uses the Eye to place his current consciousness into the body of his past self. Unfortunately, the tragedy still occurs no matter how safely he drives, which route he takes, or even his refusal to go to the award speech as Christine dies again and again whether he’s there or what he does. Dr. Strange’s anguish at being unable to save Christine isn’t helped by the Ancient One’s explanation that her death cannot be averted as it would create a potentially universe-destroying time paradox (if Strange prevents her death, he won’t become a sorcerer and be able to go back and save her).

Strange Supreme saves Christine, but only briefly and at the cost everything that ever is or was in his reality.

Refusing to believe that Christine is fated to die, and angered at the Ancient One’s refusal to help him break this “absolute point” in time, Dr. Strange uses the Eye to flee from the confrontation and consult the ancient tomes of the Lost Library of Cagliostro. There, he meets O’Bengh (Ike Amadi) and learns that one can potentially gain the power he requires by absorbing magical beings; thus, Dr. Strange conjures a variety of demonic, Lovecraftian, and magical creatures (including gnomes, familiars, dragons, and even the octopus-like creature Captain Carter fought). When they won’t willingly share their power, he resolves to forcibly take it, and quickly becomes obsessed with gaining more and more magical power from these entities over the course of centauries to become “Strange Supreme”. As he does so, he grows increasingly monstrous and takes on more of their attributes, but is shocked to learn from O’Bengh that he’ll never be powerful enough to achieve his dreams due to the Ancient One using magic from the Dark Dimension to split him in two and create two concurrent timelines. His other half, who took Wong’s advice and moved on from Christine’s death, is charged by an echo of the Ancient One to oppose his dark doppelgänger before his ambition erases all of reality. When Strange Supreme’s attempts to coerce his other half into joining his cause are rejected, a magical battle ensues that spans multiple dimensions. Despite Wong’s protective spells and Strange’s efforts to talk down his dark half, Strange Supreme’s centauries of basking in the powers of countless magical beings makes him the superior and he’s ultimately able to absorb his missing half. Finally whole again, Strange Supreme succeeds in undoing Christine’s death but is transformed into a demonic being by the effort this requires; understandably, she is horrified by his nightmarish appearance, and he’s left helpless to stop the time paradox from devouring all of his reality. Desperate to preserve the world, he begs the Watcher for help but he refuses to get involved, despite wishing to punish Strange Supreme’s reckless arrogance, and the once Sorcerer Supreme is left alone, despondent, and remorseful in the tiniest pocket of reality with nothing but his grief and regret for company.

Banner is horrified to find the world, and many of its heroes, infected by a zombie virus.

One popular, recurring storyline in Marvel Comics in recent years has been the Marvel Zombies spin-off (Various, 2005 to present) that tells of a devastating zombie plague overwhelming the Marvel universe (and beyond). A version of this reality is explored in “What If…Zombies?!” (Andrews, 2021), which finds the Hulk crash-landing into the Sanctum Sanctorum as in Avengers: Infinity War (Russo and Russo, 2018) only to find it, and the streets of New York City, deserted. When Iron Man, Dr. Strange, and Wong arrive to take care of Ebony Maw (Tom Vaughan-Lawlor) and Cull Obsidian (Terry Notary), Banner’s elation soon turns to horror when the three are revealed to be vicious, flesh-eating zombies who tear Thanos’s children to shreds, instantly infecting them in the process, and Banner is only saved from the same fate thanks to the timely intervention of Dr. Strange’s Cloak of Levitation, a swarm of ants commanded by Hope van Dyne/The Wasp, and Peter Parker/Spider-Man (Hudson Thames). Spider-Man’s amusing orientation video shows that the MCU’s zombies largely confirm to the “rules” commonly associated with their kind; they’re decomposing corpses with a voracious hunger who turn others with a single bite and can only be killed by removing the head or destroying the brain. However, they’re not as mindless or shambling as traditional zombies; they’re intelligent enough to co-ordinate their attacks and utilise tech like the Iron Man armour and magic like the Sling Rings. In a change of pace, the Watcher reveals a definite origin for the zombie outbreak by relating how Janet van Dyne (Michelle Pfeiffer) became infected with the virus while stuck in the Quantum Realm; when she bit Hank Pym, he brought the virus back with him and the entire world was quickly overrun once the Avengers were turned.

The survivors narrowly escape Zombie Wanda, completely unaware of a greater threat waiting in Wakanda.

Banner joins up with the few uninfected survivors and learns from Okoye (Danai Gurira) of a possible cure at Camp Lehigh, New Jersey; the group travel to the Grand Central Station, where they’re attacked by zombified versions of Sam Wilson/The Falcon (Anthony Mackie), Hawkeye, and Captain America. Although they lose Harold “Happy” Hogan (Jon Favreau), the group is able to get the train working and fend off the zombies thanks to Okoye and the Wasp. However, the train is attacked by Zombie Cap, who infects Sharon Carter (Emily VanCamp) and forces Bucky to end his undead existence, retrieving his shield in the process, but Hope is also infected from a small cut she receives after disposing of Sharon. Although Peter tries to remain optimistic that she’ll be cured before she can turn, Hope sacrifices herself to atone for her part in causing the outbreak by carrying the group through a horde of zombies and dropping them off at Camp Lehigh. There, they find the zombies refuse to breach the camp thanks to the presence of the Mind Stone in the Vision’s (Paul Bettany) head; he and the severed head of Scott Lang (Paul Rudd) reveal that the Mind Stone’s properties can reverse the zombie virus, and the group is excited to spread the cure throughout the world from Wakanda. However, Banner learns that they’re not the first to respond to the Vision’s beacon, and Bucky is horrified to find that the Vision has been feeding parts of other survivors (including T’Challa) to a zombified version of Wanda Maximoff (Elizabeth Olsen) since she’s proven resistant to the Mind Stone and he’s been unable to kill her due to his love for her. When Wanda breaks free and proves uncontrollable due to her powers and hunger, the Vision rips the Mind Stone out of his head to atone for his actions and the group’s escape is covered by Bucky and the Hulk, who finally emerges from Banner’s psyche and is able to resist the zombie’s bite and hold back Wanda so the others can take off. The one-legged T’Challa, beheaded Lang, and shellshocked Peter console themselves with the knowledge that they’ll be able to save the world once they reach Wakanda, completely unaware that the nation has already succumbed to the infection and is under the rule of a zombified Thanos and his partially-completed Infinity Gauntlet!

Killmonger rescues Stark and becomes his most trusted confidante to kill his way to his birthright.

We then go back to where the MCU all started in “What If…Killmonger Rescued Tony Stark?” (Andrews, 2021), which recreates the opening moments of Iron Man (Favreau, 2008) with one key difference: right as Tony Stark is about to be injured by one of his own missiles, he’s saved by N’Jadaka/Erik Stevens/Killmonger (Jordan), who fends off the Ten Rings soldiers looking to kidnap Stark and thus means that the genius, billionaire philanthropist never learns the humility or courage that led to him becoming Iron Man. Instead, he remains a conceited, arrogant, self-serving glory hound who believes that he needs to build bigger, better weapons to protect America’s interests. To that end, he drafts in Killmonger, who wastes no time in publicly outing Obadiah Stane (Kiff VandenHeuvel) as the man who bankrolled the Ten Rings’ attack on Stark, and Stark is so grateful to his saviour that he quickly promotes Killmonger to his new Chief Operations Officer, alienating Virginia “Pepper” Potts (Beth Hoyt) in the process. Killmonger swiftly becomes Stark’s closest friend and confidante and, together, they create robot drones, the “Liberators”, based on Killmonger’s fandom for anime. Killmonger pushes Stark to use Vibranium as a power source for the Liberators, and Stark sends in Colonel James “Rhodey” Rhodes (Don Cheadle) to steal some from Ulysses Klaue (Andy Serkis). However, the Black Panther attacks the meeting to recover stolen Vibranium, only for Killmonger to reveal his true intentions and kill T’Challa with one of Stark’s weapons. He chastises Rhodey for wearing the uniform of his oppressors and kills him with the Black Panther’s claw to make it seem like they killed each other; thanks to Just A Rather Very Intelligent System (J.A.R.V.I.S.; Bettany), however, Killmonger’s actions are revealed to Stark. Stark tries to avenge his friend’s murder using a Liberator, but Killmonger easily bests the drone and kills Stark with a Dora Milaje spear, which escalates the tensions between the United States and Wakanda into all-out war. General Ross assumes control of Stark’s assets and the Liberators are pushed into mass production; Killmonger then kills Klaue in order to deceive the Wakandans, then seizes control of the Liberators to lead his people in “defeating” the invading army. His victory and battle prowess wins over his uncle, T’Chaka, and earns him the mantle of the Black Panther; however, T’Challa’s astral warnings of Killmonger’s impending defeat are left a distinct possibility not only due to Ross’s obsession with continuing the war but also when Pepper and Shuri (Ozioma Akagha) agree to work together to expose Killmonger’s deception.

This Thor just wants to party, but his good time is spoiled by Captain Marvel and Jane blabbing to Frigga.

“What If…Thor Were an Only Child?” (Andrews, 2021) lightens things up a bit by retelling the events of Thor (Branagh, 2011); in this version of the story, in the absence of a brother to grow up alongside, Thor is little more than a lackadaisical, party-loving frat-boy who, despite still being worthy of Mjölnir, is far more interested in wasting time revelling with his friends than following his mother, Frigga’s (Josette Eales), instructions to behave or becoming a bore like his father, Odin Allfather (Anthony Hopkins). To avoid the all-seeing gaze of Heimdall (Idris Elba), Thor and his drinking buddies head the Midgard, the most backwater, insignificant world in all the Nine Realms, and invite guests from all over to join them in a massive, nonstop party. Tracking the cosmic disturbance and fearful of an alien invasion, Doctor Jane Foster (Natalie Portman) investigates and is both disturbed to find that Thor’s parties are so out of control that they can kill planets and won over by the Thunder God’s otherworldly charm. Jane and her intern, Darcy Lewis (Kat Dennings), join the party, quickly being swept up in all the intergalactic chaos and merriment on display; Darcy even marries Howard the Duck (Seth Green), and Jane and Thor get matching tattoos, but soon wake up to massive hangovers and the arrival of S.H.I.E.L.D. Acting Director Maria Hill (Cobie Smulders) is deeply concerned that Thor is leaving a trail of destruction as he takes his party on the road, and calls in Captain Marvel to assist with the perceived threat. Thor’s reunion with fellow party animal Prince Loki of Jotunheim is interrupted by Captain Marvel’s arrival; Thor brushes off her demands that he leaves, and a fight ensues that sees the two battle all across the globe. Despite Thor’s petulant, childish nature, the two are seemingly equally matched in terms of power and durability, but Carol’s forced to hold back her full power to avoid damaging the world or endangering lives. Since Jane disagrees with attacking or eliminating Thor since she’s so enamoured by him, she uses her tech to contact Heimdall and literally tells on Thor to Frigga. As Hill prepares an all-out nuclear strike against Thor, he’s terrified by Frigga’s impending arrival and begs his guests to help him clean up all evidence of their shenanigans. Despite Thor’s best, most frantic efforts to put right all the anarchy he and his friends had caused, she sees through his deception; however, rather than being mad at Jane for selling him out, he thanks her for teaching him a lesson in humility and asks her out…only for he, and the Watcher, to be stunned by the sudden appearance of an alternate version of Ultron!

This alternate version of Ultron is such a threat to the multiverse that the Watcher is forced to intervene.

This cliff-hanger is explained in the following episode, “What If…Ultron Won?” (Andrews, 2021), which presents a post-apocalyptic world where Black Widow and Hawkeye are the only Avengers left to oppose the all-powerful Ultron. In this world, Hawkeye not only sports his ridiculous mohawk and a mechanical right arm, but Ultron successfully fulfilled its goal to cause an extinction-level event by claiming the Vision’s body as its own, killing Iron Man, Cap, and Thor, and launching a worldwide nuclear attack that decimated humanity. When Thanos arrived looking to retrieve the Mind Stone, Ultron split him in two with one shot and claimed the Infinity Stones for itself, becoming a God-like being capable of laying waste to entire worlds and Realms with its endless supply of drones. Asgard, Ego, Xandar, and countless others all fall before Ultron’s power and even Captain Marvel is unable to oppose it; having eradicated the vast majority of life across the universe and ascended to a higher pane of existence, Ultron not only sees but also hears the Watcher. Although the Watcher previously considered intervening in Dr. Strange’s story, he held true to his vow of non-interference since he deals in a cosmic balance beyond the lives of mere mortals, even ones as powerful as the Master of the Mystic Arts. However, Ultron’s threat is so terrifying even to this cosmic observer that the Watcher is sorely tempted to assist Natasha and Clint in their efforts to coerce Zola’s artificial intelligence into helping them. The Watcher is pleased when their perseverance pays off but, although Zola is able to possess one of Ultron’s drones, he cannot shut down Ultron’s hive mind as Ultron is outside of the known universe, meaning Clint is forced to sacrifice himself so that Natasha and Zola can escape. The Watcher is aghast when Ultron not only does the impossible and breaches his cosmic observatory but is also able to match even the Watcher’s cosmic power. Their battle sees them literally smashing the dimensional barriers into numerous alternate realities and sees Ultron devour a whole universe and force the Watcher to flee. While Ultron prepares to lay waste to the entire multiverse, the Watcher is forced to turn to Strange Supreme for help in opposing Ultron’s threat.

The Guardians of the Multiverse join forces to end Ultron’s threat.

This story, and the entire show, comes to a head in the final episode, “What If…the Watcher Broke His Oath?” (Andrews, 2021), which sees the Watcher recruiting Captain Carter, T’Challa Star-Lord, Killmonger, Party Thor, and a previously unseen version of Gamora (Cynthia McWilliams) to join Strange Supreme as the Guardians of the Multiverse. He enlists each of them right as they’re in the middle of tying up loose ends from their respective episodes and emphasises that every one of them is needed to protect something even bigger than their individual lives or concerns. Captain Carter immediately recognises the gravity of the situation, while Strange Supreme sees this as his chance at true redemption, and, despite the odds, they all tentatively agree to work together to combat Ultron, steal his Soul Stone, and destroy it using Gamora’s “Infinity Crusher” device. While Strange Supreme struggles to contain the dark magics within his body, Gamora is troubled by Killmonger’s obsession with Ultron’s technology, and Thor accidentally attracts Ultron’s attention, but the group is thankfully shielded by Strange Supreme’s protection spell. Following Captain Carter’s lead, the Guardians are able to launch a co-ordinated attack that allows T’Challa to swipe the Soul Stone; when Ultron makes short work of Zombie Wanda and follows the Guardians to its home reality, it gets summarily pummelled by the Guardians’ repeated attacks and Strange Supreme’s ability to counteract both Ultron’s Time Stone and match its enlarged form with his monstrous magic. Although they’re stunned to find the Infinity Crusher ineffectual because it and the Infinity Stones are from different realities, Ultron’s threat is ended when Captain Carter helps Natasha avenge Clint and fire an arrow containing Zola’s consciousness into Ultron’s armour, erasing its sentience once and for all. In the aftermath, Killmonger claims Ultron’s armour and proposes using the Infinity Stones to “fix” their universes; when they refuse, he attempts to destroy them and they’re saved by a Zola-controlled Vision, who tries to take the Infinity Stones for himself. Before they can properly get into a potentially devastating battle over the gems, Strange Supreme freezes them in time and seals them within a pocket dimension, ending their threat once and for all. The Watcher trusts Strange Supreme with watching over the two, and returns everyone to their proper place and time; since Natasha’s world was left lifeless by Ultron, the Watcher sends her to help Nick Fury overthrow Loki, and then alters his vow of impassive observation to a pledge to protect the multiverse when needed.

The Summary:
At first, I wasn’t too sold on What If…?’s animation style; the slick, computerised cel-shaded look has never been a favourite of mine, but I was quickly won over by it due to how closely each character and episode mirrors their live-action counterparts. Everything from the recreation of certain shots, to the musical cues, to the costumes and likenesses perfectly emulates the source material each episode is based on, meaning we get the brown-hued colour scheme of World War Two for Captain Carter, the barrage of bizarre cosmic colours for Star-Lord, and the industrial, high-tech grey of Stark and S.H.I.E.L.D. facilities. Although some notable names from the MCU didn’t return to lend their voices to their iconic characters, What If…? employs the services of some incredibly gifted soundalikes and even goes the extra mile in presenting a version of Bruce Banner that resembles both Edward Norton and Mark Ruffalo, which is fitting considering we encounter this character between his solo film and his first big MCU crossover. Animation also means that What If…? is theoretically able to do absolutely anything it desires, regardless of budget, and is limited only be the imagination of the animators; thus, while things are a little on the safe side with slightly different retelling of Captain America: The First Avenger, Thor, and other MCU films, it’s not long before we’re seeing massive Lovecraftian creatures, a whole host of Marvel heroes interacting in ways we’ve not really seen before, an additional taste of the cosmic madness of the universe (and multiverse), and a wide variety of both horrifying and oddball concepts to really test the waters of what the MCU is capable of going forward.

Captain Carter and T’Challa Star-Lord are just as competent, if not more so, as their MCU counterparts.

I really liked that, despite their reversed roles, Peggy and Steve still have a mutual attraction based on mutual respect and their respective struggles; Peggy faces an uphill battle due to being a woman in a male-orientated world (and war) that constantly weighs her down even after she’s enhanced by the super soldier serum, and of course Steve has been overlooked and undervalued his entire life due to his gaunt frame and sickly nature. While everyone else is either incredulous due to her being a woman or impressed by her fighting prowess because she is a woman, and she must prove her worth through her deeds to win them over, Steve admires the person that she is and her fighting spirit; he’s the only one that doesn’t judge her for her gender and who doesn’t need convincing that she’s the right person for the job and is only too grateful to be an active combatant alongside her in the Hydra Stomper. Peggy is also quite different in the role; like Steve, she attacks it with a sense of duty and honour, but she also takes far more joy in her newfound abilities. There’s a sense that she’s finally able to let loose, that she’s been given the physical gifts to realise her full potential, and she literally dives head-first into making the most of that opportunity. T’Challa’s characterisation as a galaxy-wide force for good is a fitting tribute to the late Chadwick Boseman; unlike Peter Quill, T’Challa is a well-respected and competent space mercenary, and I loved the running gag that he’s somehow able to convince even the most maladjusted individuals to give up their villainous or tyrannical ways simply through presenting a convincing argument. Korath is only too willing to change sides simply out of his worship of Star-Lord, and his crew follow his lead into doing good deeds simply because he was such a positive influence on them. Unfortunately, he’s not able to have the same influence on the Collector, who’s not only blinded by his position in this universe, but also driven by his inherent greed and given a major power boost thanks to his artefacts. However, while threats still remain in this timeline, on the surface it seems to be a far more peaceful and united universe simply thanks to T’Challa’s positive influence on others.

What If…? isn’t afraid to get very dark and show twisted or corrupted versions of these popular characters.

Things take a turn to the dark side once the Avengers (especially Stark) start getting killed off; What If…? is a self-contained show within the larger MCU multiverse, meaning literally anything can happen to anyone, and seeing the franchise’s core six heroes be so brutally murdered really hammers that home. It also gives Hank Pym, someone introduced later into the MCU, a chance to be a more prominent player in this sandbox; seeing him active in the MCU’s first phase is a great way of fleshing out the world in a unique way, especially as he’s become a murdering psychopath. This is a Pym whose neuroses and paranoia have been pushed to breaking point, which deftly showcases just how much of a threat a guy with Pym’s intellect and technology can be to even the most superhuman individuals. Of course, the epitome of dark character turns is the tragic tale of Strange Supreme; it’s absolutely heart-breaking to see Dr. Strange left so desperate and despondent by Christine’s loss that he fell deeper and deeper to the darkness. His frustration and anguish at being unable to change the past see him become obsessed with gaining more and more power, to the point where he is fixated only on being reunited with his love. This makes him blind to all pleas, even those of his uncorrupted counterpart, and it isn’t until all of reality is about to be erased forever that he realises the error of his ways. Sadly, by then, it’s much too late for him to undo anything; Christine once again dies in his arms and everything that ever was is unravelled due to his time paradox; even the Watcher judges his heinous actions, and the once mighty Strange Supreme is left alone and repentant in the tiniest slither of reality. It’s a poignant and gut-wrenching take on the snarky, stubborn, and arrogant Sorcerer Supreme, one that shows just how dangerous a threat he could be if he lost his strong moral compass, and it’s a testament to the show that the character remained a tragic and relatable figure right up until the end rather than simply being a malevolent antagonist.

What If…? showed characters are their grimmest and worst and also at their most carefree.

Easily the darkest tale is the inclusion of zombies; never before has the MCU veered so closely towards traditional horror and I really appreciated the bleak, gory change of pace. It was fantastic seeing the MCU’s most powerful characters reduced to animalistic ghouls, forcing the few survivors to battle their lifelong friends and making painful sacrifices to ensure the safety of others against overwhelming odds. This was also a prime opportunity to show a new side to the Vision; him luring in survivors just to feed his love is a haunting glimpse at the darker side of his cold, calculating logic. We’ve seen such behaviour, this overpowering sense of denial, in zombie films before and, here, it served as a gruesome reminder of just how close to the brink this alternate reality is to total collapse. This continued in Killmonger’s welcome reappearance, with his alternate tale basically showing what could have happened if he had succeeded in his goals of reclaiming his Wakandan birthright; Killmonger was always one of the MCU’s more driven and dangerous antagonists and his episode showed just how truly vindictive and sadistic he really was. He had no qualms about deceiving or using anyone and any resource at his disposal, and even incited an all-out war just so that he could get himself into a position of trust and power, which serves as a stark reminder to just how ruthless a villain he really was. The party-loving version of Thor is the polar opposite; Party Thor cares little for battle or being a king and just wants to enjoy himself. He revels in being the centre of attention and throwing the biggest, most outrageous parties in all the Nine Realms and is lauded amongst his guests as being the wildest party animal around. Thor is a consummate free spirit and a friend to all; alien races, Gods, and recognisable beings from all across the cosmos cheer his name and share in his revelry, making for some of the most light-hearted and amusing moments in the entire series as Surtur (Clancy Brown) tries it on with Lady Liberty and Frost Giants deface Mount Rushmore. This episode also leads to one of the best fist fights in the series as Thor and Captain Marvel trade blows, but he delights in the fight as much as he does in enjoying himself with mead, and only the disapproval of his mother finally shakes Thor from his apathy and pushes him to make amends for his reckless merriment.

The Watcher is forced to take action for the first time in his long life in order to defend the multiverse.

Of course, things come to a suitably dramatic and action-packed conclusion with the final two episodes, which finally force the Watcher into action. Up until then, the watcher existed outside of the normal universe, powerful and cosmic enough to remain completely undetected, but Ultron’s sentience and force grows to such an extent that it’s able to sense the Watcher, breach his observatory, and begin a maniacal campaign to conquer and destroy the entire multiverse. Untold aeons of quietly observing the multiverse haven’t exactly dampened the Watcher’s power cosmic, but in the face to Ultron’s might, enhanced by the six Infinity Stones, the enigmatic onlooker is forced to do the one thing he has never done and ask for help, calling upon the characters he has been observing and asking them to intervene where he cannot. Seeing these wildly different versions of these characters interacting was a blast; they arguably got on the same page much faster than the regular Avengers (which is no doubt due to the short length of the episodes) and were able to launch a united attack on Ultron as a result. Indeed, Ultron kind of got a bit shafted in the last episode; it went from going toe-to-toe with a cosmic being to getting battered about by a handful of mortals and Godlings simply because the Guardians were able to keep the pressure on and keep Ultron from activating the Infinity Stones. Realistically, Ultron could’ve just “snapped” them all away, but then that wouldn’t be anywhere near as exhilarating for a final battle now, would it? Seeing Killmonger claim the gems and just the idea of what his twisted imagination would use them for was a cool moment, as was the idea that he might someday escape his trap to threaten the multiverse again, and just about the only issue I had with that last episode was the random inclusion of a Gamora when they could’ve maybe employed Zombie Wanda instead. Overall, though, I thoroughly enjoyed this series; the presentation, the humour, the fun twists on established characters, and the bizarre stories were all really fun and engaging and I can’t wait to see more from this as the MCU continues to expand into more and ore obscure concepts.

My Rating:

Rating: 5 out of 5.

Fantastic

Did you enjoy What If…?? Which episode was your favourite, and which of the alternate characters did you like the most? Did you enjoy the Watcher’s inclusion and characterisation? What did you think to all the cameos and the animation style? Did you enjoy seeing Ultron as an all-powerful force and what did you think to its battle with the Watcher? Were you also disappointed that Gamora didn’t get her own episode? Are you a fan of the What If…? comics and, if so, which was your favourite? What other hypothetical scenarios would you like to see explored in a future season? Whatever your thoughts on What If…?, sign up to drop a comment down below and check back next Sunday for the final instalment of Multiverse Madness.

Screen Time [Multiverse Madness]: WandaVision


In September 1961, DC Comics published “Flash of Two Worlds” (Fox, et al), a landmark story that brought together two generations of the Flash: the Golden Age Jay Garrick and the Silver Age Barry Allen thanks to the concept of the multiverse, an infinite number of parallel universes that allowed any and all stories and characters to co-exist and interact. Marvel Comics would also adopt this concept and, to celebrate the release of Doctor Strange in the Multiverse of Madness (Raimi, 2022) this month, I’ve been both celebrating the Master of the Mystic Arts and exploring the Marvel Cinematic Universe’s (MCU) equivalent of the multiverse every Sunday of May.


Air Date: 15 January 2021 to 5 March 2021
Network: Disney+
Stars: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Kat Dennings, and Evan Peters

The Background:
Without a doubt, the MCU has become a nigh-unstoppable multimedia juggernaut that has brought some of Marvel Comics’ most beloved, and obscure, characters to life on the silver screen. Although Marvel Studios had dabbled in television ventures as well with Agents of S.H.I.E.L.D. (2013 to 2020) and their Netflix shows, they really upped their focus on TV productions for the MCU’s fourth phase and to coincide with the release of their parent company’s streaming service, Disney+. Spearheaded by MCU head honcho Kevin Feige, the Disney+ shows focused heavily on maintaining and expanding the continuity of the MCU going forward, and the first of these announced was a spin-off that would focus on the previously underutilised characters of Wanda Maximoff (Olsen) and the Vision (Bettany). WandaVision was a curious venture that aimed to explore new areas of the MCU, and the multiverse, by placing the characters in different decades and parodying popular sitcoms throughout the years. Feige aimed for the show to shed new light on Wanda’s potentially dangerous powers and to lay the foundation for the MCU’s fourth phase by dabbling in the multiverse. Inspired by both classic sitcoms and notable comic book storylines involving both characters, the show was framed as a surreal and bizarre mystery that would weave in aspects from outside the MCU and build to a dramatic finale that fundamentally altered Wanda’s character. Released in weekly episodes that sent fan speculation into a frenzy, WandaVision received widespread critical acclaim; critics praised the show from breaking away from the usual MCU formula and its emotional and dramatic themes, though some criticised the finale and the show’s overall pacing. Still, WandaVision was highly successful and, while there are currently no plans for a second season, its story arcs were continued in further MCU films and spin-offs.

The Plot:
Three weeks after the events of Avengers: Endgame (Russo and Russo, 2019), Wanda Maximoff and the Vision are living an idyllic suburban life in the town of Westview, New Jersey, where they conceal their true natures. However, things are not as they seem as their surroundings begin to move through different decades and they discover that they’re being manipulated by a malevolent supernatural force.

The Review:
I’m admittedly pretty late to the Marvel Disney+ shows, primarily because neither my television nor my service provider actually carry the app, and it’s not the same watching on a smaller screen. I’d usually be content to wait for the DVD release, but it’s looking like we won’t actually get one so, with Doctor Strange in the Multiverse of Madness right around the corner, now seems like as good a time as any to actually watch WandaVision, which I honestly was the least excited about of all the Disney+ shows. This isn’t because I dislike the characters or the actors that portray them, it just seemed like a weird spin-off to produce, especially given the events of Avengers: Endgame, but I heard a lot of good things about it and followed the every-growing fan speculation so it was great to actually sit down with it and binge-watch it in one sitting.

Wanda and the Vision are trying to life normal lives but there’s something undeniably odd about Westview.

Thanks to the inclusion of super cringe, super appropriate jaunty theme songs and opening titles at the start of each episode, WandaVision quickly catches us up with the two Avengers and the general theme of the show; somehow, Wanda and the Vision have gotten married and settled down in Westview, a quiet little town where they hope for a fresh start amongst normal, everyday people. To achieve this, the two keep their extraordinary abilities hidden; however, when in the privacy of their own home, Wanda freely uses her magic to perform household chores, such as tidying and cleaning, and the Vison walks around in his default synthezoid form without a second thought. Outside of the house, the Vision alters his physical appearance to pass as human and works at Computational Services Inc.; while he is naturally incredibly efficient and hardworking, neither he nor his co-worker, Norm (Asif Ali), has any idea what the company actually does. Although Wanda and the Vision seem perfectly happy in their new life, with all its quirks and eccentricities, WandaVision shows hints towards a darker side of their lives right from the first episode; while entertaining his boss and his wife, Mr. and Mrs. Hart (Fred Melamed and Debra Jo Rupp), neither of the main characters can recall where they came from, when they got married, or how they even got there. Wanda is so confused by her inability to answer such simple questions that she simply sits, perplexed, while Mr. Hart chokes to death on a piece of food and Mrs. Hart is locked in an agonising loop where she can only say “Stop it!” with good humour. Eventually, Wanda sees how serious the situation is and asks the Vision to step in and the whole incident is laughed off as a gag, but it’s a disturbing moment made all the more intriguing when the episode ends with its events being watched by another within the show, providing our first hint that WandaVision is a show within a show.

Wanda’s concerns over her lack of children are superseded by strange goings-on and imposters in her quaint life.

Still, despite this incident, the two are determined to fit in with their quaint little suburban community; the Vision joins the neighbourhood watch, Wanda joins the planning committee for the local talent show, and Wanda is keen to take the family trick-or-treating later in the show. Essential to helping her to fit in is Agnes (Hahn), Wanda’s “neighbour to the right”, who constantly drops in on her at the most convenient of times to offer friendly advice about how to deal with the local social committee or to help her out of awkward situations. Agnes takes a special interest in Wanda and the Vision’s sex life (apparently because she is under-sexed and under-valued by her unseen husband, Ralph), and continuously probes Wanda for intimate details about her life and offers Wanda advice about how to spice up her sex life. Right from the off, Agnes is dropping hints about the two starting a family, and this is only exacerbated when Wanda feels detached from the community because she doesn’t have children like Dottie Jones (Emma Caulfield Ford), the head of the committee and a prominent figure in Westview’s social elite. After their magic show is a smash hit (despite the Vision being inebriated due to gum clogging his systems and Wanda frantically using her Chaos Magic to explain away her husband’s superhuman feats, and the fact that there are no children in attendance for show), Wanda is overjoyed when she spontaneously becomes pregnant and so angered by the strange appearance of a beekeeper’s outfit emerging from a manhole that she literally rewinds time to return to her happy moment.

Pregnancy throws Wanda’s powers out of whack but Geraldine incites her wrath by mentioning Ultron.

Wanda’s pregnancy is explored through the third episode, “Now in Color” (Shakman, 2021); while she is delighted to find that she is already four months pregnant and happy to busy herself using her magic to decorate and prepare a nursery, the Vision begins to find himself disturbed by the strange goings on in their lives and around Westview. Every time he stops to consider why his neighbours are acting so strangely or how Wanda’s pregnancy is progressing so fast, Wanda gets closer and closer to popping, replacing his concerns with the dual emotions of happiness and anxiety at the thought of becoming a father. Wanda’s pregnancy sends her powers all out of whack and causes a neighbourhood blackout; when she worries that Westview will suspect she’s the cause of it, this strikes a chord with the Vision but, again, Wanda causes an abrupt jump cut to keep him from following his thoughts through any further and he’s soon rushing off to retrieve Doctor Stan Nielsen (Randy Oglesby) to help deliver the baby. Although she tries her best to hide her condition using bowls of fruit and to wish away a stork she randomly brings to life, Wanda eventually succumbs to her pregnancy but, luckily, her new friend Geraldine (Parris) is on hand to help out. Thanks to Geraldine, Wanda successfully gives birth to Baby Tommy and then she and the Vision are shocked at the arrival of his twin, Baby Billy. While thanking Geraldine and cooing over her babies, Wanda is reminded of her own twin brother, Pietro (Aaron Taylor-Johnson); this seems to snap Geraldine out of her trance and, when she accidentally reminds Wanda of her brother’s death at Ultron’s (James Spader) hands, Wanda becomes enraged and forcible ejects Geraldine from Westview, which is revealed to be encased within a translucent energy field not unlike television static and monitored by government agents.

While Monica, Woo, and Darcy try to help Wanda, S.W.O.R.D. director Hayward is convinced that she’s a threat.

This is the perfect way to transition to some actual context for the show as, after three episodes of intrigue and mystery, “We Interrupt This Program” (Shakman, 2021) goes a long way to explaining just what the hell is happening by following Geraldine after she is restored to life by the second snap of the Infinity Gauntlet. It turns out that she’s not a native of Westview at all and is, in fact, a grown-up Monica Rambeau, which is relayed in a harrowing sequence where Monica stumbles through a hospital thrown into disarray by people suddenly returning from being disintegrated and culminates in her receiving the heart-breaking news that her mother, Maria (Lashana Lynch), succumbed to cancer while Monica was lost to the snap. Monica is a former fighter pilot captain in the Sentient Weapon Observation and Response Division (S.W.O.R.D.), an intelligence agency founded by Maria and now run by Director Tyler Hayward (Josh Stamberg) that monitors and responds to threats posed by robotics and artificial intelligence. Monica is assigned to assist the Federal Bureau of Investigation (F.B. I.) with a missing persons case in Westview and liaises with Jimmy Woo (Randall Park), whose investigation has stalled because no one seems remember Westview or its inhabitants and the entire town is sealed within an odd temporal anomaly referred to as the “Hex”. After Monica’s drone disappears inside the Hex and Monica is sucked within shortly after, Hayward brings in Doctor Darcy Lewis (Dennings) and a number of other scientists to help. Darcy then recognises the patterns of cosmic background radiation and discovers that they are akin to old analogue broadcast signals, successfully tunes into WandaVision, and becomes invested in the show. Woo and Darcy ascertain that WandaVision’s “cast” is comprised of Westview’s missing residents, and that Monica and everything that breaches the Hex is assimilated into the show to become part of the cast a harmless toy, or a beekeeper. Their attempts to contact Wanda using radio signals only unnerve Wanda and injure Dottie, and Wanda is enraged at Monica trespassing in Westview; their confrontation is so traumatic for her that her sitcom demeanour falls away, and she’s briefly horrified by an apparition of the Vision’s mangled corpse.

While the twins adore their uncle, Wanda is confused by Pietro’s altered appearance and personality.

From then on, WandaVision routinely switches between the ongoing drama within the show and the efforts of those outside the Hex to try and figure out what’s happening. Wanda and the Vision’s struggles to calm their crying children are skipped over when the twins spontaneously age-up to five years old; Billy (Baylen Bielitz) and Tommy (Gavin Borders) adopt a stray dog, “Sparky”, and then age-up another five years to be “old enough” to keep him. Sadly though, Sparky goes missing and is found dead by Agnes; Wanda struggles to comfort her boys, hypocritically asking Billy (Julian Hilliard) and Tommy (Jett Klyne) not age-up any further so they can face the natural reality of Sparky’s death. However, having seen what their mother is capable of (she soon decides she’s “tired of hiding” and openly uses her magic in front of Agnes), they implore her to use her powers to “fix the dead”, a feat that she believes is beyond even her and yet she’s stunned when “Pietro” (Peters) shows up on her doorstep, alive and well but sporting a new face and personality. The twins quickly become close to their fun-loving, free-spirited uncle; Pietro still has his superspeed, here depicted very similarly to his MCU counterpart, and is very much the freeloading man child archetype. Pietro causes havoc on Halloween night and is generally a bad influence on the twins, which he claims is what Wanda wants from him. Wanda doesn’t fully trust or understand his appearance, however, and is confused by their differing memories of their childhood; he relates a fuzzy memory of being shot to death and then hearing her calling for him and expresses an awareness of Wanda’s influence on Westview. Rather than judging her, Pietro is impressed at how far her powers have progressed but, just as she begins to feel comfortable enough to open up about how alone she has felt, Wanda has a brief vision of Pietro’s bullet-riddled corpse dead and strikes him with her powers when he makes a glib remark about the Vision’s death, which is enough to cause her to distrust him from then on.

The Vision is angered to discover that Wanda has enslaved Westview, but equally determined to help her.

Despite Wanda’s best efforts, the Vision’s concerns about Wanda and Westview continue to niggle at him; he’s aghast when Wanda brazenly uses her magic in front of Agnes and horrified when he learns the townsfolk are being manipulated by Wanda’s powers. When he confronts her, Wanda tries to walk away from the heated argument, and even rolls the credits, but the Vision persists, desperately trying to talk sense into her and infuriated that he’s being controlled, though Wanda insists that she’s not in control of what’s happening and is simply trying to make the best of it. Still, Wanda is troubled by the Vision’s behaviour towards her and his increasing tendency to go “off-script”; the Vision finds residents locked in (and pained by) endless, repeating loops or frozen in place at the edge of town and is stunned when Agnes reveals that he’s not only an Avenger…but also dead, two things he has no memory of. When he attempts to breach the Hex, he begins to disintegrate before Darcy and Hayward’s eyes, distressing Billy so much that Wanda expands the Hex to cover an even greater area and causes Darcy and several other S.W.O.R.D. agents to become assimilated into WandaVision. This only encourages Hayward’s belief that Wanda is a significant threat to Westview; already antagonistic towards superpowered individuals thanks to the struggles he lived through during the Blip, Hayward believes that Wanda is an aggressive terrorist and routinely clashes with Darcy, Woo, and Monica when they champion Wanda’s heroic actions and frame her as a victim of oppression and experimentation rather than aggressor, despite her recent actions. However, Hayward is unconvinced and even manipulates security footage to suit his agenda when, in reality, he’s reconstructed the Vision’s physical remains into a weapon under his direct control.

It turns out that Agatha Harkness was behind (almost) everything in a bid to steal Wanda’s powers.

When Monica successfully breaches the Hex using a 1980s drone, Hayward attempts to assassinate Wanda, so she leaves her idyllic fantasy land to deliver a warning against him trying to interfere in her life. This, and expanding the Hex’s influence, causes Wanda’s mental state and control over Westview to begin to deteriorate as the show jumps ahead to the late-2000s; the house and town glitch and switch between eras and Wanda jumps at the chance to take a personal day while Agnes watches the twins. However, her confusion over her unpredictable powers soon turns to dread when she discovers an ominous, gothic lair in Agnes’s basement and her magic is rendered useless by a series of runes. This is when Agnes reveals (through a jaunty musical number) that she’s actually a malevolent witch named Agatha Harkness and has been behind everything happening in Westview (including Sparky’s death!) all along. While this is a fun reveal and definitely changes the context of the show, it does fall a little flat as many watching (including myself) would have no real idea of the significance of the name “Agatha Harkness”. Still, WandaVision tries to make up for this with a flashback to 1693 Salem, Massachusetts that shows Agatha being condemned by her fellow witches for practising dark magic from the forbidden tome known as the Darkhold and revealing that she’s capable of draining the magic and lifeforce of other witches to increase her powers. Drawn to, and envious of, Wanda’s power, Agatha desires to learn the secret of Wanda’s natural affinity for magic and forces her to relive some of her most traumatic memories to understand how the Avenger could possibly be the fabled “Scarlet Witch”.

Agatha forces Wanda to relive her worst memories, while the Vision reconciles with his reanimated remains.

Wanda witnesses a childhood memory of how she and her family would regularly watch old US sitcoms to bond and practice their English. It was during young Wanda’s (Michaela Russell) favourite episode of The Dick Van Dyke Show (1961 to 1966) that their home was bombed, killing her parents and trapping her and young Pietro (Gabriel Gurevich) and actually the first instance of her using her Chaos Magic to affect the probability of the missile exploding. A subsequent memory of her volunteering to be a part of Hydra’s experiments with the Mind Stone shows that the Infinity Stone simply amplified Wanda’s natural magical abilities rather than causing them, as the MCU first suggested. Wanda also remembers a time when the Vision offered her comfort after Pietro’s death by suggesting “grief [is] love persevering”, and the truth behind her visit to S.W.O.R.D. headquarters after his death; contrary to Hayward’s earlier footage, Wanda was denied custody of the Vision’s expensive and potentially dangerous remains but was allowed to see for herself that he was truly gone. Grief-stricken, she visited Westview, where the Vision had intended for them to start a life together, and exploded in a burst of Chaos Magic; empowered by her pain and loss, her powers not only swept through Westview, transforming it into its original 1960s sitcom setting and enslaving its citizens, but also reconstituted an exact replica of the Vision for Wanda to settle down with and alleviate her anguish and she willingly lost herself to this fantasy world. Essentially a magic vampire, Agatha takes power from those she deems unworthy, and is far more adept at wielding dark magic than the more emotional and naïve Wanda; Agatha mocks Wanda for wasting the powers of the Scarlet Witch in such a way and goads her into a battle by threatening her children so that she can take that power for herself. Wanda is saved by the intervention of Hayward’s reconstructed Vision; cold and ruthless, White Vision attempts to kill Wanda as per Hayward’s orders, but she’s saved by the Vision. As both Visions prove to be equally matched in terms of powers and abilities, the Vision is able to subdue his counterpart by hypothesising that neither are the “true” Vision by using the philosophy of the Ship of Theseus to show that they are simultaneously both the Vision and not the Vision. The Vision then restores White Vision’s memories and personality, releasing him from Hayward’s control and ending his threat as he darts off the an uncertain future.

Wanda outsmarts Agatha, free Westview, and isolates herself to better understand the powers of the Scarlet Witch.

Hayward’s efforts to bring Wanda down lead Agatha to condemn him and his S.W.O.R.D. troops as being little more than the modern-day equivalent of witch hunters, but Wanda protects them regardless and Monica reveals that repeated exposure to the Hex has granted her superhuman abilities that allow her to shield the twins from Hayward’s attempt to gun them down. Darcy then rams his jeep to keep him from getting away and, thanks to Woo’s subterfuge, Hayward’s plot to emerge a hero from the whole affair is exposed. Agatha reveals that the Darkhold foretold that Wanda’s power is destined to not only rival the Sorcerer Supreme’s, but also to destroy the world, and forces her to face the consequences of her actions by releasing Westview’s citizens from her spell. Wanda is distraught to learn that those she thought she was protecting were in such physical and emotional pain, to the point where they beg her to let them go…or die to be free from their torment. Wanda creates a gap in the Hex so that the citizens can finally leave in order to both atone for her actions and to reject Agatha’s claims, but quickly reseals the Hex to keep Billy, Tommy, and the Vision from being erased. Forced to choose between saving her family or saving the town, Wanda ultimately accepts that she is the legendary Scarlet Witch and manages to outsmart Agatha by first overloading her with her Chaos Magic and then turning Agatha’s trick against her by casting protective runes that render Agatha’s powers inert. Wanda punishes the defeated and despondent Agatha by forcing to reassume her “role” as Agnes as recompense for her actions, and finally dispels the Hex, restoring Westview and the surrounding area to normal. Wanda and the Vision head home with the twins and reassure them that they’ll always be a family, before the two share an emotional last moment together where she admits that he was a product of her love and hope as much as her sadness and promises that they’ll see each other again. While Monica knows how much Wanda sacrificed to restore Westview and understands her pain, Wanda’s faced with the judgemental eyes of those she inadvertently hurt, so she heads out to understand her power in isolation at a remote cabin, where she studies the Darkhold in her astral form.

The Summary:   
At its core, WandaVision is a story about grief, loss, and the extremes one goes to after having suffered through some of the worst traumas both imaginable and unimaginable. Hayward’s concerns over Wanda’s threat, while radical, are well founded as, in a moment of anguish, she effectively manipulated the minds and wills of an entire town and forced them to bend to her desires just to make herself feel better. However, it’s clear that Wanda hasn’t done this out of any animosity or aggression; she’s simply suffering and in a great deal of pain, but has caught many innocent souls in her web as a result. Even the Vision is disturbed to see what Wanda’s influence is doing to Westview’s citizens; by touching his fingers to their temples, the Vision is able to free them from Wanda’s control and is met with only hysteria and pleas for help and to get Wanda to stop. When he confronts Wanda, the Vision is enraged at her actions and yet hoping that she didn’t tear families apart and hijack people’s lives out of any malicious intent…however, even Wanda begins to question her intentions and motivations, and her tendency to lash out and the uncertainty about the true nature of the Scarlet Witch certainly raises questions about her character.

The show’s visual style and presentation change as the characters jump through different sitcom eras.

WandaVision wonderfully separated itself from other MCU productions with its production style, format , and overall presentation, which becomes very metatextual and is full of homages to both the source material (the family dress up in comic-accurate costumes for Halloween) and a wide variety of American sitcoms. The first few episodes are presented in black and white, using an older aspect ratio, and clearly drawing inspiration from the sitcoms of the 1950s and 1960s, particularly the likes of Bewitched (1964 to 1972) in not only its premise and setting but also the filming techniques used (the special effects are achieved using practical, in-camera effects and of-the-time methods to give it that authentic fifties feel). The Bewitched influences are even more explicit in opening titles of the second episode, “Don’t Touch That Dial” (Shakman, 2021), which are directly influenced from that show, and we see this again as the series progresses, particularly in “Breaking the Fourth Wall” (ibid), which emulates the opening titles of Modern Family (2009 to 2020). The series is injected with a wash of colour at the conclusion of “Don’t Touch That Dial” and jumps into the vibrant brightness of the 1970s from “Now in Color” (ibid) to evoke groovy, jaunty, sitcoms like The Brady Bunch (1969 to 1974). With each new era, the character’s wardrobes, hair styles, and the show’s furnishings are all updated accordingly, and the focus quickly becomes about depicting the growth of Wanda’s family unit. Initially, episodes feature a canned laughter track to accompany the many sight gags and double entendres; this laughter track remains even when odd or disturbing events are happening onscreen, such as when characters are in danger of going “off-script”, and is ultimately replaced in favour of characters directly breaking the fourth wall or being filmed in a mockumentary, as was the style of late-2000s sitcoms.

A bunch of weird events, moments, and character quirks sent internet speculation running wild!

WandaVision certainly got people talking when it first came out, and it’s easy to see why; every episode is peppered with gags, double meanings, and vague hints about what’s really happening in Westview (Agnes refers to Wanda as “The star of the show!”, which is another double meaning as she’s the star of the talent show and her own actual show). Many of the episodes end with false commercials for products and services that act as metaphors for Wanda’s suffering and anguish: The Stark Industries ToastMate 2000 is a metaphor for her sex life (and emits the same ominous beeping as the Stark missile that threatened Wanda’s life as a child, alongside the slogan “Forget the past, this is your future!”), Strücker watches directly reference the man who experimented on Wanda, Hydra Soak bath powder promises an experience so relaxing that it’ll make bathers forget their troubles and unlock the “Goddess within”, Lagos paper towels are tough and absorbent enough to clean up any accidental mess, the claymation Yo-Magic yoghurt is delivered to a boy stranded on a desert island who struggles to open the lid and wastes away to a skeleton over the course of several days and nights, and Nexus antidepressant pills offer a reprieve for those struggling with the weight of loneliness, guilt, and the feeling of life moving on without them and desperate for some relief. As if these odd commercials weren’t enough, the early black and white episodes are often punctuated by bursts of colour that disturb Wanda and allude to things being not quite right; Wanda is confused to find a toy helicopter that matches Tony Stark’s (Robert Downey, Jr) colour scheme and a tense discussion between Wanda and Dottie quickly turns bizarre when Woo speaks directly to Wanda through the radio, briefly causing Dottie to snap out of character and cutting herself to reveal red blood against the monochrome surroundings. Furthermore, there are numerous allusions to a greater threat looming in the background, one many assumed to be Mephisto; Dottie states that “The Devil’s in the details” and Agnes lends Wanda her rabbit, Señor Scratchy, but ultimately the threat proved to be much closer to home and hiding in plain sight.

A poignant tale of grief that gives some of the MCU’s supporting characters a chance to shine.

Overall, I can see why so many people were impressed by WandaVision; the show is practically the definition of variety, featuring a lot of humour, heart, and drama to keep you invested throughout its run time. No two episodes are the same, even those set within the same time period, and the show evolves as we learn more about what’s going on, splicing in more of those familiar MCU elements while giving returning side characters like Darcy and Woo more time in the spotlight to shine as interesting personalities in their own right. WandaVision also introduces a new superhero to the MCU in the form of the grown-up Monica Rambeau, who ends the series altered at a cellular level and with the prospect of her own space adventure ahead of her with the Skrulls. Of course, there are some things that don’t work; it’s a bit of a tease to bring in Evan Peters only to have him revealed to be an actor with a ridiculously suggestive name who was manipulated by Agatha rather than actually being the Quicksilver from the X-Men movies (Various, 2014 to 2016). Agatha’s reveal didn’t really work for me either, as mentioned, but I did enjoy her as a villain and puppet master; however, it can’t be denied that reducing WandaVision to a big light show battle did kind of go against the deeper themes explored throughout the previous episodes. I think it might have been more effective to leave the Visions to handle the heavy combat in the finale and have Agatha and Wanda engage in a battle of wills rather than tossing fireballs at each other, but it was a colourful and intense end to the series. I enjoyed the chance to explore these characters in more detail, the new introductions to the MCU, exploring the effects of the snap from a different perspective, and the introduction of Wanda’s children and the expansion of her powers. WandaVision definitely tries something new and, for the most part, manages to stand out through its unique presentation; when it’s exploring Wanda’s complex trauma or paying homage to classic sitcoms, it’s really at its strongest, but there are a few missed opportunities spliced in there that may put some viewers off.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy WandaVision? What did you think to the themes of grief and loss explored in the series? Did you enjoy the exploration of Wanda and the Vision and the additional spotlight given to some of the MCU’s side characters? What did you think to the use of different colours and filming techniques? Were you also caught up in the speculation, and were you suspicious of Agnes at the time? Did you find Evan Peters’ inclusion disappointing or were you excited to see him included? What do you see happening next for these characters and are you excited to see more from Monica and White Vision? Whatever you think about WandaVision sign up to let me know below or leave a comment on my social media, and check back in next Sunday for more Multiverse Madness!

Game Corner: Captain America and the Avengers (Arcade)

Released: 1991
Developer: Data East
Also Available For: Game Boy, Game Gear, Mega Drive, Nintendo Entertainment System (NES), Super Nintendo Entertainment System (SNES)

The Background:
First created in 1940 by Joe Simon and Jack Kirby, Steve Rogers/Captain America was an icon of the Second World War, embodying America’s obsession with patriotism and pride by taking the fight directly to the Axis Forces. Superhero comics went on a bit of a decline after the war and Captain America wouldn’t return to prominence until 1964, when he was famously revived to join Marvel Comics’ all-star team, the Avengers. Since then, the character has been largely synonymous with Earth’s Mightiest Mortals, often acting as the team’s moral compass and leader. In 1991, both comics and arcades were undergoing something of a renaissance; Marvel published the influential Infinity Gauntlet (Starlin, et al, 1991) during this time and sidescrolling beat-‘em-ups like Final Fight (Capcom, 1989) and The Simpsons (Konami, 1991) were proving popular coin munchers. It is perhaps these factors that led to Data East developing a four-player beat-‘em-up game centred around Marvel’s popular super team, a game that is often forgotten because of genre-defining titles like X-Men (Konami, 1992) and a title I first played on the SEGA Mega Drive in all its inauspicious glory.

The Plot:
Johann Schmidt/The Red Skull has assembled an army of the world’s most dangerous supervillains in order to take over the world using a gigantic, Moon-based laser! Answering the call to action and adventure are Captain America, Tony Stark/Iron Man, Clint Barton/Hawkeye, and the Vision, collectively known as Earth’s Mightiest Heroes, the Avengers, are the only ones capable of putting a stop to the Red Skull’s nefarious plans for world domination! Avengers Assemble!!

Gameplay:
Captain America and the Avengers is a 2D, sidescrolling beat-‘em-up in which you, and another player if you have a friend, control one of the four Avengers and mindlessly pummel a bunch of robots, cyborgs, and iconic Marvel bad guys across five different stages (referred to as “Scenes”). No matter which character you choose to play as, the game pretty much plays exactly the same with only some minor aesthetic differences separating the characters.

Each Avenger has their own special attack but, otherwise, controls exactly the same.

Despite this, though, I found Cap the most enjoyable character to play as, with Iron Man a close second. The controls are as simple as you could want: you can beat down your enemies with some simple punches and kicks, charge through them with a dash attack, block by holding down the punch button, and perform two different jumping attacks depending on how high you’re jumping. You can also grab and throw enemies (and objects) and unleash a unique ranged attack by pressing down the attack and jump button simultaneously: Captain America hurls his mighty shield, Iron Man fires his repulsor rays, Hawkeye fires arrows, and Vision fires laser blasts from his forehead. I found there to be a bit of a delay in activating these special attacks, however, which can leave you vulnerable but at least they don’t drain your health.

Wasp and Namor will occasionally lend you a helping hand.

Speaking of which, your health is measured in hundreds; you begin each Scene/life with 100 health but can increase it by grabbed the rarely-seen small blue orbs or the power-ups dropped by other Avengers like Namor the Sub-Mariner and Pietro Maximoff/Quicksilver. You can also increase your health, all the way up to “Max”, by entering coins to keep you alive and kicking, effectively sacrificing your pocket money and extra lives for more health. Thankfully, emulation means you don’t need to worry about wasting your hard-earned pocket money so you never have to worry about running out of lives or health.

Autoscrolling shooting sections help to add some variety to the gameplay.

Unlike a lot of arcade games, Captain America and the Avengers doesn’t feature a time limit; however, if you stand around idle for too long, an explosion randomly drains your health until you either die or get moving, which is a cruel but unique inclusion. It’s not all mindless right-to-left fighting, either; Scene 2, Scene 3, and Scene 5 feature autoscrolling shooting sections that take place in the skies of a wrecked city, deep underwater, and in the cold vastness of outer space. If you’re playing as Cap or Hawkeye, you’ll get to pilot a Sky-Cycle in the first of these stages, but for the others you’ll throw on some scuba gear and a rudimentary space suit. Either way, you must blast enemies with your ranged attack (which is now just a simple button press), avoiding their projectiles and holding down punch to block. These sections are only short but they held to mix things up a bit and, when it comes to sidescrolling beat-‘em-ups, variety is hard to find so it’s appreciated.

Graphics and Sound:
I remember Captain America and the Avengers looking very unimpressive on the Mega Drive, with small sprites in large areas and lacking a lot of the detail and quality of other games of the time. In that regard, the arcade game is better since the sprites are much bigger and more distinct and detailed but you’ll notice that they’re not as large, colourful, or intricate as those seen in games like X-Men, for example.

The game is colourful and varied but not as impressive as others in its genre.

Still, it does a decent enough job; the camera is zoomed out quite far compared to other beat-‘em-ups, though, giving you a much larger battlefield which would be a positive but, while areas can get swamped with enemies and do feature interactive elements (mainly barrels and other objects to throw or explode), they are quite empty and there’s little benefit to exploring or attacking your surroundings. You will find some interesting elements, though, such as enemies bursting out of windows and the background, an Avengers mural, burning cars, wrecked buildings, and both a sprawling city in the background and water rushing beneath you as you fly, with comic book sound effects punctuating the onscreen violence.

Comic book panels and hilariously mistranslated dialogue tell the game’s story.

As you might expect, comic book-like panels and text are used to convey the bulk of the story; each character is given a brief demonstration of their in-game abilities and a biography, which is a nice touch, and the game is peppered with some in-game cutscenes that feature dialogue between the Avengers and their enemies. These are some of the most ludicrous examples of mistranslation ever, which hilarious exchanges such as “Seeeeee my powerrr!”, “Where is the laser?”/“Ask the police!”, “You can’t escape!”/“You will be the one escaping!”, and “Why should it goes well!?” It’s cheesy and ridiculous in a “Welcome to die!!” kind of way that adds some unintentional entertainment value to the game, which also features a suitably heroic soundtrack; you’ll hear the main theme quite a bit, since it kicks in once bosses are close to defeat, and while it’s nothing special it’s very catchy and rousing and gives the game a stirring, stimulating gallant feel.

Enemies and Bosses:
For the most part, you’ll battle seemingly endless wave upon wave of robots or cybernetic enemies; the most common of these incessantly shoot at you with lasers, sometimes while jumping, while others carry shields or can grab and hold you with retractable arms. You’ll also battle enemies that hover in jetpacks, bigger, more muscle-bound variants that squeeze the life out of you with a bear hug, and hopping bug-like robots. Underwater, enemies will fire harpoons at you while you try to dodge mines and, in the air, they’ll circle around firing lasers in a simple formation. Most of these are destroyed in just a few hits, and both increase in number and become tougher to defeat as you progress, exploding upon defeat, making me believe them to be cyborgs and mechanical rather than flesh and blood.

In Scene 1, you’ll battle some minor Marvel foes after they rob a bank.

One thing Captain America and the Avengers does really well, though, is its expansive use of Marvel’s rouges gallery; in each Scene, you’ll have to contend with a main boss and a series of sub-bosses, many of whom will be recognisable to fans of the source material (and even the movies, to a degree). In Scene 1, you’ll have to contend with the duo of Arthur Parks/The Living Laser and Ulysses Klaw/Klaw mid-way through the stage as they cover David Cannon/Whirlwind’s escape following a bank robbery. Laser and Klaw are best faced with a partner since they hop around the screen, blasting lasers and projectiles at you, but, like all of the game’s sub-bosses and bosses, can be easily pummelled solo as well. When you do go toe-to-toe with Whirlwind, it’s dead easy to just wail away on him, with his only threat being his ability to transform into a literal whirlwind to dash about the screen and whip up nearby objects to rain them down on you.

After disposing of a Sentinel, you’ll battle the Grim Reaper, though neither the Wizard or the “Mech. Taco” are a threat.

Scene 2 sees you having to relentlessly blast away at a Hydra aircraft on your way to the wrecked city and a confrontation with the gigantic, screen-filling “Giant Robot” (clearly a Sentinel). The Sentinel is a slow, plodding sub-boss who tries to smack you out of the sky, fires lasers, and grabs you in its near-endless supply of robot hands. After blowing it to pieces, you’ll battle through the ruins of the city and into a confrontation with Eric Williams/The Grim Reaper, one of the game’s tougher bosses. Grim Reaper can block your projectile attack with his spinning scythe, rush across the screen with lightning speed to slash and strike you, hover in the air, and fires explosive projectiles as the fight progresses. In Scene 3, you’ll battle Bentley Wittman/The Wizard on the deck of a wrecked battleship; the Wizard favours diving punches, throwing discs, and quick-firing laser bolts but is, otherwise, a minor inconvenience at best. After exploring the depths of the ocean, you’ll encounter a giant mechanical octopus referred to as “Mech. Taco”; this is functionally the same fight as against the Sentinel, requiring you to avoid the Taco’s tentacles, swim beneath its lasers, and simply fire at it relentlessly until it explodes.

Even some of Marvel’s most recognisable villains end up being a bit of a pushover.

After emerging victorious, you’ll battle through a submarine and into a confrontation with the Mandarin; the Mandarin is a bit of a trickster, floating around the arena, rocketing into the air, firing at you with lasers, encasing you in ice, and even duplicating himself for double the threat. The Mandarin can command his duplicate to charge at you, send you flying with his floaty movements, and loves to bash you senseless when he gets up close. Like all the other bosses, though, he might have a lot of flair but he’s got a glass jaw and it’s easy to land a few combos and whittle his health down in seconds. Scene 4 sees you infiltrating the Red Skull’s Moon base, where you’ll have to contend with Cain Marko/Juggernaut (who is, ironically, actually smaller than the game’s bruiser enemies…). Juggy likes to roll around the arena in a ball, land big uppercuts, charge at you with a shoulder barge, and trying to cave your skull in with a big double axehandle smash. Oddly, the most difficult thing about fighting him isn’t his much-vaulted strength but actually his speed, since he cannot be damaged in his ball form and likes to speed around the arena like a whippet. After defeating Juggernaut, you’ll eventually battle Ultron, who fires electrical beams from his face, dashes across the screen in a fireball-like form, fires lasers blasts from his hands, pummels you with punches, and causes lasers to rain down across the arena once his health gets low. It’s not an especially difficult fight but, thanks to Ultron’s array of abilities and speedy, damage-dealing moves, it’s comparable to the ones against the Grim Reaper and the Mandarin in that it can be frustrating navigating through Ultron’s attacks but, once you get some hits in, he goes down as easily as any other boss.

Surprisingly, Crossbones is pretty tough, but the final confrontation with the Red Skull couldn’t be simpler.

Having destroyed the Red Skull’s giant laser in Scene 5, you’ll again battle two sub-bosses at once; in this case, “Control” (who is possibly supposed to be Basil Sandhurst/The Controller). This fight is made more troublesome by the buzzsaws that travel across the grid on the ground but is still easier than the first fight against the Living Laser and Klaw since Control just tries to grab you and land flying kicks. Once they’re dealt with, your penultimate boss is against Brock Rumlow/Crossbones, of all people. Not gonna lie but Crossbones is a bit disappointing as a penultimate boss in terms of his character and stature but he’s no pushover; Crossbones leaps, bounds, and tumbles across the arena leaving a shadow in his wake and raining explosive mines (which home in on you) down around you. He also pulls out a pistol to fire at you from a distance and isn’t afraid to either rush at you with his trusty knife or toss the blade your way in rapid succession. Because of his speed and relentless attacks, Crossbones is no pushover but you can tip the tide in your favour by throwing his explosives back at him. Once you corner the Red Skull (who is seen smoking a cigarette in his introduction idle animation!), you’ll go head-to-head with the Nazi superman in a good, old-fashioned slugfest. If you’re wondering where the cliché elevator stage is, it’s right here in this simple fight that turns out to be a trap! Once you drain the Red Skull’s health, he grows into a massive mechanical form and it’s revealed you’ve been fighting a decoy all along. The real Red Skull watches, safely protected within a glass tube, as you battle the formidable “Mech. Skull”, which boasts such devastating attacks as twin gatling guns, energy bolts, massive melee attacks, rockets, a big slam attack, and can summon whirlwinds to mess you up. Still, it’s a big, largely stationary target so it’s pretty simple to get close to it to avoid the majority of its attacks and just pummel away until it explodes, seemingly taking out the Red Skull with it and destroying the Red Skull’s entire Moon base in the process.

Power-Ups and Bonuses:
Unlike most sidescrolling beat-‘em-ups, there aren’t many power-ups to be found in Captain America and the Avengers. Very rarely, in the autoscrolling stages, you’ll find small blue orbs to restore your health and there are a variety of objects to pick up and throw but there are none of the traditional health power-ups, invincibilities, or melee weapons to be found. At certain, predefined points in a lot of Scenes, another Avenger will make a brief cameo and toss out a big health-restoring power-up, which is a fun inclusion. In the autoscrolling sections, you can also pick up a “W” icon and gain the help of Janet van Dyne/Wasp, who encircles your character and can be shot forwards to deal additional damage for a limited time. It’s a shame that more of the other non-playable Avengers don’t aid you in the same way (though Namor does provide some brief assistance in Scene 3).

Additional Features:
It’s an old arcade beat-‘em-up so, of course, there’s really nothing else on offer here except for obtaining or beating the high score or playing alongside a friend. Apparently, some versions of the arcade cabinet supported four-player co-op, which seems like a missed opportunity, but I do know that the consoles versions included different difficulty settings and a “Training” mode that allows you to pit each playable character against each other in a pale imitation of games like Street Fighter II: The World Warrior (Capcom, 1991).

The Summary:
If you’re looking for a classic, sidescrolling arcade beat-‘em-up, you can do a lot better than Captain America and the Avengers. It’s a decent way to waste about half an hour or so and is big, colourful, mindless fun but there are far better arcade beat-‘em-ups out there, whether carrying the Marvel license or not. The game is fun with a second player and for the completely off-the-wall voice acting and dialogue but it’s very empty and basic, even for an early-nineties beat-‘em-up title. I will say, though, having previously owned the Mega Drive version, that the arcade version of the game is the superior of the two so I would recommend playing this version over any of the others…and then jump back into X-Men right after.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever played Captain America and the Avengers? If so, which version did you play and which do you feel was the superior iteration? Which of the four Avengers was your go-to character and which of the unplayable Avengers would you have liked to see made playable characters? What did you think to the game’s many sub-bosses and bosses and cheesy, terribly translated dialogue? Have you got a favourite arcade beat-‘em-up or Marvel videogame; if so, what is it? Either way, I’d love to hear your thoughts so drop a comment below.