It is about damn time. It has been almost six years since Avengers: Age of Ultron. Six years where we haven’t gotten a single mention of Pietro, or his death at the hands of Ultron. Quicksilver’s death should have been something consistently weighing on Wanda throughout the years—something that should have been brought up quite often. But it never was, and quickly became one of the biggest holes in the MCU (in my humble opinion).

Thankfully that hole is somewhat filled here as we finally get mention of that incident—a mention that will hopefully lead to further exploration. We’ve witnessed Wanda’s grief in regards to Vision’s death (and it’s pending arrival), and one can only assume that the show will continue to explore that. So it would be jarring to completely leave Pietro, her twin brother, out of mix(not that it wasn’t already jarring before). Now I hope that we see Aaron Taylor Johnson make his return, but I know that’s not extremely likely. At the very least, Pietro’s legacy and part of Wanda’s childhood should still loom large. Even if we never see Pietro in the flesh again. 

Paul Bettany as Vision and Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ WANDAVISION exclusively on Disney+. Photo courtesy of Marvel Studios. ©Marvel Studios 2021. All Rights Reserved.

Besides the Pietro mention, that entire tonal shift was easily the best part of the episode, with the proceeding five minutes being the most intense that the show has offered us. Seeing the way Wanda acted—and in turn Monica’s terror as she was coming to her realizations—was scary to watch. It really paints the picture that Wanda may actually be the villain of this story. This marks the first point in the show where the veil really starts to be pulled away and the cracks start to show. Monica seems like she may be one of the first in this happy sitcom world to fully “wake up” as it were. While Vision may have come close, Wanda has always seemingly reversed everything so that he doesn’t quite cross that line.

That might all change now though, because Vision knows something is up, and this time Wanda is unaware of his knowledge. Vision was outside, so he would have known if Monica had really left—guess Wanda should have thought that one through. While Vision was outside though, we got to witness some huge cracks in this sitcom world. Herb and Agnes’ gossip and secrecy was coated in dread and an intense sense of foreboding. Does this mean people may secretly know, but don’t give in and/or show it so as not to put themselves in dangers? As this show tends to do, the whole interaction certainly brought up even more questions.

(L-R): Elizabeth Olsen as Wanda Maximoff and Teyonah Parris as Monica Rambeau in Marvel Studios’ WANDAVISION exclusively on Disney+. Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.

Now let’s address the sitcom element. It’s focus has been the key thing in these first three episodes. While they have been fun, and crafted with love from everyone behind the show, they are certainly starting to drag. A main storyline all but doesn’t exist, and the continued mystery with absolutely no answers is starting to take its toll. Thankfully if the last five minutes are any indication, that may seem to be changing in the next episode. 

Before we got booted out of sitcom land with Monica however, we were formally introduced to Wanda’s twins: Billy and Tommy. I know many out there won’t immediately realize the gravitas of this event, but it’s important to note that both of them go on to become key figures in the Marvel Universe—even becoming Avengers down the line. As for how that will play out in the MCU, your guess is as good as mine. 

WandaVision’s third episode continued the sitcom focus, this time with the 70s. While still fun, the focus on this sitcom world is stretching the intrigue of the show very thin—so needless to say those last five minutes were a delight. Hopefully the show starts providing us some answers and context to everything unfolding before our eyes. Would be nice to have an overall story to the madness.