#i read someone's meta that wanda is trying to keep this illusion of reality

[sepublic]

WandaVision Finale!

           Okay, that finale was AMAAAAAZING! Everything about it… Particularly, I love that with all of these references to American, black-and-white television shows, we got a bit straight out of what felt like The Twilight Zone! Let me tell you, when Dottie came up to Wanda and started begging to be with her daughter, bargaining, playing with the role and trying to appeal, even offering up her daughter for the antagonistic, demonized role of bully, just to be with her; That was INCREDIBLY messed-up and really shook me up, as did everyone else in that sequence! It was utterly wonderful, and really, the entire premise and set-up DOES seem like a Twilight Zone episode; Perhaps the final homage/allusion by this series?

           The Vision battle was great, some much-needed action and usage of Vision’s powers that we needed. I love how Vision manages to talk down the White counterpart with logic and existential thought… The philosophical, almost deconstructive way Vision deals with stuff and life isn’t cold, but rather appreciative, like someone taking apart a clock and marveling in how its put together; They don’t rage at the clock for no longer upholding the undefinable illusion it used to have… 

          And of course, the idea of ‘illusion’ I feel applies to Westview as well. The difference being that Westview’s mechanisms are inherently immoral, but the way Vision gets down to the basics and fundamentals of things in his almost wondrous, childlike curiosity- It’s great. He’s questioning everything, but in anticipation and acceptance of an answer, he does not view the world with cold disdain the way someone like Ultron would.

           The Theseus Ship paradox was a wonderful discussion, as was the suggested answer that either neither of them are the ship, or they both are! As is Vision’s constantly poetic talk of how the ship is more the experience and memories, so if they’re attached to either, then sure- They’re both the same! I love for a hypothetically cold android, this dude is so poetic and marveling at everything. He should be a writer, a poet… But that’s not happening anytime soon; But it doesn’t mean it won’t EVER happen, either! As Vision realized, they’ve said goodbye before, only to say hello again… I love his little way of looking through and exploring loopholes in apparent certainties, both at the end and with White Vision.

           Not gonna lie though, I half-expected/anticipated for White Vision to emerge with Ultron’s mind, once Vision reawakened those memories, and I have to wonder where he is. I was kind of hoping both Visions would merge together to complete a true one, given how both acknowledge that the other has something that they don’t. White Vision is still out and about though; And I like the clever usage of color, with blue representing the cold and mechanical Ultron side of him, and yellow being the Mind Stone, but most importantly Vision. And I LOVE the idea that Scarlet Witch has the last remainder of an Infinity Stone within her, preserved like her love for Vision; Some things you can’t truly eradicate, Thanos!

           That reference to the Darkhold from Agents of SHIELD was great, and I imagine it’ll come into play now that Wanda’s taken it from Agatha. How Agatha got it, I have to wonder; But that’s a story for another day, I presume. I guess she’s been brainwashed truly as Agnes and is doing her own thing in Westview, without anyone to realize she doesn’t quite belong; Or maybe they will? What a wonderfully poetic, vicious fate for her character- She faked it all, and now she gets to be real! The idea of playing a ‘part’ is just a fascinating motif in this show for me, and I’m sure there’s some philosophical stuff I could dredge up about that term, ‘stories’, from my Philosophy class.

           Wish we got some more resolution with Darcy, and Hayward kind of just left; But I do appreciate how we could’ve gotten a bit of an all-out brawl, with the SWORD agents targeting Agatha and how she alludes to the Salem Witch Trials! Also the allusion to the Sorcerer Supreme, AKA Doctor Strange, was great- And things are still complicated with how Wanda more maturely vouches to save those agents, even if they’re also against her… She knows that people’s dislike and hostility is pretty valid. It’ll be interesting how she’ll own up to the ‘role’ of Scarlet Witch now, as a lot of her vilification came from her own actions, admittedly. I imagine she’s going to try and it do it on her own terms, see what loopholes in the requirements she can exploit- Much like her husband Vision would! Also, Tommy and Billy having to dissipate when Vision at least understands and accepts IS messed up, so I can see why Wanda feels the need to rescue her children, who definitely don’t deserve this.

           I do have to wonder if that last scene is a hint that Wanda hasn’t fully moved on, or if she HAS, but of course Tommy and Billy don’t deserve to die just for her character development! Really that dilemma and sad ending was handled so well, I half-expected Wanda to isolate the Hex to just her house, or maybe focus all of the energy of the Hex into maintaining JUST Vision, Tommy, and Billy. Maybe she’s consulting her chapter in the Darkhold for info on that? Either way, I like how she’s prepared and kept all of her assets in place in case she ever needs them, such as Agatha, now Agnes! There’s a very spiteful and utilitarian way she handles herself now, reminiscent of a villain who keeps tabs on their friends and enemies; Wanda seems to be doing the typical steps of a villain, but hasn’t exactly committed to it; And maybe never will, again, it’ll be interesting how she exploits her role as Scarlet Witch. I love the callback to those runes, how a scene that could’ve been written off as magical world building foreshadowed and came back into play; Such a simple and obvious trick, but one I always fall for because I’m so invested and IN the world!

           Also, I think that lake Wanda lives by, might be the one where Sokovia’s remains landed? If so, then that’s incredibly fitting; A watery grave for her home and memories, huh? I wonder if Pietro, the real one, is buried here- It makes sense, Agatha alludes to Pietro not being buried in North America (nor South America if you want to get into technicalities), so of course their home country, or what’s left of it, is ideal! The site where he died, lowkey; Although that was arguably several miles above, but still. This third-world country that everyone dismissed and ignored has now had a major legacy that is felt across the world… It’s been heard, huh? I’m not sure why Wanda’s maintaining that illusion of herself, is she just practicing, maybe creating a front in case anyone notices activity, checks out, and then assumes it’s ‘just’ some random lady?

           I can only imagine how Doctor Strange will tie into this! Probably with the Nexus of All Realities and the Darkhold, and of course the Scarlet Witch’s role as a potential threat to the Sorcerer Supreme; And hopefully with what we’ve seen of Agatha making note of magic belonging to the ‘deserving’ and being able to take it from others… Baron Mordo, perhaps? Maybe he’ll make his return interrogating Agnes as he tries to track down the Scarlet Witch, seeing her as a threat… Dang, now Mordo’s reminding me of Emperor Belos from The Owl House, with the whole belief that after chaos and bloodshed, magic should instead be isolated to only the deserving who prove themselves, and whatnot! Now I’m even in MORE interested and hopeful for Mordo with this comparison!

           Likewise, the allusion to the Nexus in that commercial made me wonder if New Jersey would be the location for the Nexus of All Realities in the MCU, but now that Wanda’s left, it’s possible she’ll track down its location to Louisiana, just in the comics! Still hoping for Man-Thing in the MCU, maybe we’ll get a setup for him! I’m telling you Feige, this is your chance to make a Frankenstein/Iron Giant type of film, a misunderstood monster story to incorporate into the MCU, what with your exploration of new genres beginning particularly in Wandavision! Also iirc the Darkhold has a corrupting influence on those who read it… But the last people who did were regular humans, is Scarlet Witch above such things? Or will the Darkhold mess with her, too- An external force that disrupts her character development by corrupting her? I’m just in even more anticipation for Multiverse of Madness to be trippy and horrifying.

           Overall, what a WONDERFUL conclusion, and an incredibly satisfying finale to this series, while still paving the way for new stories! It seems Photon’s story has just begun, now that Nick Fury has sent a Skrull to invite her; Maybe for the Captain Marvel sequel? I’d assume the sequel deals with the fall of the Supreme Intelligence, which takes place before 2014; Nine years before Monica gets her powers! Something had to have happened to lead to the Kree’s peace treaties with everyone that angered Ronan…Well, we’ll see!

          And White Vision, we’ll see what happens with him, what existential crisis he’ll get into, poor dude; He’s arguably the original Vision, except traumatized and questioning himself! I’m surprised Wanda didn’t go after him, did she assume he was destroyed? Or has she just moved on, focusing on her sons? We’ll have to see… Vision did allude to him reuniting with Wanda, so perhaps Wanda can use her powers to gather the Mind Stone’s scattered atoms within the fragment she holds, and reform an Infinity Stone to truly resurrect Vision, from his white template! Perhaps that’s how the Nexus will come into play, as a place to draw together such cosmic power that was once scattered by the Mad Titan…

           Wish we got to see more of Darcy and Woo, as well as Fietro; Him being confirmed as Ralph was great, as was that little hilarious man-cave segment of his, fitting into what would’ve been his time period. I’m a bit disappointed he’s just some dude, but at least there’s the meta gag… I LOOOOVE Scarlet Witch’s new outfit, it’s such a stylish red dress/cape and crown, love how it’s repeatedly invoked as a symbol for her; Wanda finally gets to own her classic costume, her tiara! The bit where her ‘shirt’ meets the pants reminds me of fangs and the points on her tiara, I love that sharp and threatening visual cohesion! And with all that in mind, here’s hoping to The Falcon & Winter Soldier as our next installment into the MCU! And one day, we’ll finally get that Black Widow movie released… One day!

#wandavision #wandavision spoilers #spoilers #marvel #mcu #wanda maximoff #scarlet witch #vision #speculation #analysis #review

[lushthemagicdragon]

On Deadpool, WandaVision and Breaking the Fourth Wall

Hey pals, let’s talk about breaking the fourth wall / extrapolation of meta information in multiverse universes--say, the Marvel cinematic vs the xmen films vs the comics. Actually, let’s talk specifically about the Marvel multiverse. 

I wrote you an essay, just go under the cut it’s shiny.

As a general rule, suspension of disbelief works better on paper than it does on video. Heroes was an excellent example of this problem. This was the first time TV show was made directly based on a comic book format, trying to emulate a comic book format. The ship sank when they tried to keep comic book pace, and to play by similar rules. Long story short, this is because the way our brains consume literature and comics is different from how we consume photographic media like movies or tv. Video, like photography, convinces the brain that it's depicting reality even when we logically know that it isn’t. Therefore, unless the rules of the video/TV world are well established as being different from our own, we apply to it our own real-world understandings of what is possible. We are able to follow the fantastic more willingly when we're imagining it (because we’re reading it) instead of seeing it with our senses. 

Breaking the fourth wall and/or being self-referential is extremely tricky on video media because you're forcing the audience's brain to acknowledge that this is fiction, which can cause some cognitive dissonance if the goal of your show/movie is to create second world immersion. Sitcoms are good at breaking the fourth wall because, with laugh tracks, live studio audiences, and a general lack of real-world consequences, our brains understand that it isn’t real. Generally, they’re not trying to fool us into believing that they’re real. Still, if Chandler Bing suddenly turned around and made eye contact with the camera, that would be weird. It’s not established in that particular sitcom world that they understand that they’re fictional. Fresh Prince on the other hand, did that all the time. 

But we’ll get back to Sitcoms, because WandaVision. As opposed to most sitcoms, most serious dramas and adventure-thrillers are trying to create a very different vibe. In order to function, you have to be fully engaged, and have to completely believe the second world you are currently in. Otherwise, the emotional experience falls short. Tonality must be consistent, whereas sitcoms can get away with having the odd emotional moment surrounded by a laugh track. 

Marvel is very weird when it comes to second worlds and believable experiences, because Marvel films, tv, and comics are all existing in the same multiverse but with wildly different tones. If you try to wrap your head around all of it as one body, it can give you a headache. Which is why I find it so interesting whenever they try to be meta. 

The MCU as we understand it is presented as a realistic second world. Yes, it's fun action adventure with magic and superheroes, but presented in a way that feels real, and rationalizes its reality. It explains with technobabble and sciencebabble everything that it's doing. It wants to feel real. There are a few examples of comedy in the MCU (AntMan, Guardians of the Galaxy, Thor Ragnorok), but their silliness can for the most part be explained away. With the latter two, they take place in space, with aliens, so our brains allow that as an explanation of wackiness outside our own reality. For Ant-Man, honestly I think it was a brilliant idea to make it a comedy because there was no way that film would have succeeded if they tried to make the audience take Ant-Man seriously on screen. I love Ant-Man, it’s a spectacularly made film. But I digress. Importantly, even though they’re funny and campy, they never lose their sense of realism, with emotional anchor points to keep them grounded.  When these characters are in an ensemble, they lose their high camp aesthetic and become part of the realism whole. 

Even when they say in the MCU, Oh look at this I am an action figure, I'm in comic books, it's presented as in-world realistic. These people are famous now, and they're real life superheroes, so obviously action figures and comic books are being produced about them. It all makes sense. Even the X-Men films, for as camp as they are, do this in their own realism bubble. I would argue the X-Men films actually do it better because you don't have to suspend as much disbelief to believe mutation as you do to believe in a super suit that shrinks people (I love you Small Rudd). 

Things get weird when the fourth wall is broken, and the multiverse is acknowledged, because the marvel cinematics have done an excellent job of creating stable second worlds. The Deadpool films, the prime example of fourth wall breaking in Marvel films/tv, are excellent because they go whole hog into breaking the fourth wall and acknowledging how ridiculous it all is. But it works for two reasons. 

1. Deadpool is the only person in the entire movie that acknowledges the fourth wall (I am pretty sure, it’s been a while since I’ve watched them but I am pretty sure). Because he alone is aware that he's a fictional character in a wider fictional universe, it's not weird when he references his actor being the green lantern or talks directly to the camera. It’s exactly what we expect from him. With Deadpool, we're in on the joke but no one else is. And that's funny. 

2. The tone of the Deadpool films is always funny and stupid. Even when it gets serious, that becomes the joke. There is no cognitive dissonance because it's consistent. See: Sitcom Logic. If the tone is light, breaking the fourth wall doesn’t jarr quite so much. 

3. Deadpool is never in the other films, and MOSTLY, the characters in Deadpool (beyond the odd brief cameo) aren't in the greater universe (I say mostly because of Colossus, but he was in one movie ages ago for like ten minutes it’s not the biggest deal). It's consistent, and it doesn't become confusing because it's contained in itself as a weird fourth wall bubble on the side of the greater universe. Anything that happens to characters in the Deadpool films will not carry over to the more serious timeline. 

There is one place in which I would say that the Deadpool films miss the mark, and make a mess of things. By making that one joke where young 90s xmen from the newest film are behind a door and shut it before he turns around, a wrench is thrown in. The weirdness of the Deadpool films suddenly is an issue because the question is asked: Where do the Deadpool films sit in the timeline? The answer is that the Deadpool films don't fit anywhere in the established XMen Cinematic Timeline, and the big mistake was having a group of characters from an xmen film on screen at the same time even as a gag. In this moment, the Deadpool films are very suddenly part of the greater universe, rather than a sidecar referencing what’s going on inside. By doing this, Deadpool is not the only character breaking the fourth wall. Now the physical world is breaking the fourth wall. And our brains will try to make sense where they cannot make sense.

But anyway for the most part, Deadpool does an excellent job of it by being a weird little fourth wall meta bubble on the fringe of existence. Wandavision though, that gets weird in a different but also very fun way.

The reason why the first 3/4ths of WandaVision work in terms of being meta-referential and also occasionally breaking the fourth wall is because 

1. genre and tone. It sets up from the beginning, this is a sitcom world, not gritty realism world. We get sitcom world, we know what to expect from sitcom world. We can laugh along with the laugh track when something odd or silly or referential happens, and accept it as truth, because a sitcom generally does not pretend to be reality. 

2. Whenever the fourth wall breaks in a way that doesn't make sense, it's intentional. Wanda reacts accordingly. Something goes weird, she fixes it. When something goes weird for someone other than Wanda (Say, the Vision), the integrity of this sitcom world is called into question in an intentional way that tracks with what is actually going on in the gritty-realism world (acknowledging that we’re in a bubble within a bubble). This camp sitcom world breaks the fourth wall within itself, not to us. Billy talking to the screen isn't talking to us, he's talking to the imagined viewer in-world. 

3. Most of the meta-references are either subtle enough to be Easter eggs (like the kick-ass reference) or exist solely as fun gaffs that have no consequences and are never acknowledged as being meta (the Halloween costumes). I say most, because there is one big meta-reference that I think was a mistake, and where it kind of starts to fall apart in my eyes. 

As much as I adore Evan Peters’ Pietro, as extremely happy as I was to see him on this show, this particular meta-reference was done in a way that breaks the second world illusion, because they pointed a big red sign at a meta reference and then tried to explain it without breaking into the multiverse. 

The thing about breaking the fourth wall and meta-referencing is that it has to be toungue in cheek to be sustainable. Our brains are accepting that this reference is for us, but to make it a serious part of the story requires an answer to the question: why? By explaining that actually, this fake Pietro was Ralph the whole time, a real person who exists in this gritty realism universe, the illusion of tongue in cheek is gone. Suddenly, there is a person who brings into question the entire structure of the second world. Because this second world does not have access to the multiverse (Into the Spiderverse is wholly its own thing), it doesn't make sense that this random guy who happened to be used to play Pietro looks exactly like Pietro from elsewhere in the multiverse. It stops being fun, and starts becoming confusing, and we start trying to find answers where there are none. 

IMO, two ways to solve that problem. 1. never explain it. If you never explain it, it's just a weird meta reference for us that also exists in Wanda's fake-world that is in itself accessing the multiverse (see: the costumes), without touching the realism world outside the bubble. 

2. What I'm now calling the Taika Waititi method. Give a nonsense explanation told with a straight face as a brush-off. Say, Wanda asks Agatha who this guy is, and she says something along the lines of, oh I don't know I just pulled some random Pietro out of the universe, I never met the guy I had to improvise. 

Anyway I still give WandaVision an 8/10 and an A for effort. Pulling off multiple tones and multiple second worlds simultaneously without even explaining it away with the multiverse is fucking hard, and they did a pretty good job all things considered. 

And if anyone is interested in wtf I'm talking about re: second worlds, I highly recommend Tolkien's essay On Fairy Stories which pretty much defines how fantastic fiction works.

#wandavision #deadpool #mcu #mcu meta #film theory #marvel cinematic #xmen cinematic #miri meta #miri writes #look ma i wrote something #wandavision spoilers #pietro maximoff #long live uncle pete #maximoff family values #wanda maximoff #wade wilson