Kicking off phase four of the ever-expanding Marvel Cinematic Universe, “WandaVision” is a deep character study of Wanda Maximoff (Elizabeth Olsen) and her immense grief following the events…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Kicking off phase four of the ever-expanding Marvel Cinematic Universe, “WandaVision” is a deep character study of Wanda Maximoff (Elizabeth Olsen) and her immense grief following the events of “Avengers: Endgame.” Head writer Jac Schaeffer said the story arc of Wanda “ramping towards acceptance” was cemented from the very beginning.
“The show was mapped to the stages of grief,” Schaeffer said. “The point was always to get Wanda to the place where she can fully understand both her reality and the trauma that she’s been through and the people that she’s lost, but also stepping into acceptance of herself as the Scarlet Witch.”
In this installment of Variety Streaming Room presented by Disney Plus, film and media reporter Angelique Jackson spoke with the cast and crew of Marvel Studios’ “WandaVision,” all nine episodes of which are now streaming. Schaeffer and Olsen were joined by director Matt Shakman as well as series stars Kathryn Hahn (Agnes/Agatha) and Teyonah Parris (Monica Rambeau) for the conversation.
Wanda Maximoff appeared in five MCU films as a supporting character before headlining her own series, the first of its kind to be released from the studio. Olsen described her experience working on “WandaVision” as a huge gift that she didn’t expect to receive from Marvel.
“Jac did such a beautiful job recognizing opportunity in the stories that we had told and these little pieces that were said or unsaid,” Olsen said. “I think the thing that she did most brilliantly was give Wanda a sense of her own agency, her ability to have control over her destiny whether or not that was a good thing or a bad thing. And so I think it was just a gift to get to make this young woman into a fully accountable woman superhero.”
Watch the full conversation above.
