But these are all the disruptions of a moment, easy to dismiss when you have a superhero’s ability to bend reality. A quick snap of Wanda’s fingers and it’s back to whipping up a last-minute magical dinner to impress the boss so hubby can win the big promotion.
We can only guess at this point, but it seems plain Wanda is hiding in the place so many of us go to when facing loss or pain, into the imaginary worlds of television. The central mystery rolls out slowly, allowing us to get lost in the superficial plotlines just as Wanda does.
It’s understandable if, upon first seeing the initial “Pleasant Valley Sunday” setting, you brace yourself for a commentary on the oppressive nature of marriage circa 1950. Or glass ceilings circa 1970. But WandaVision isn’t interested in any of that. Through Wanda and Vision’s relationship we see a surprisingly touching tribute to that earthly institution Scripture calls the grace of life. The idyll Wanda escapes to is a traditional marriage to the man she loves, complete with homemaking and children. No one is sneering at suburbia here.
In fact, in the first three episodes, with the exception of a stray minor profanity here, a subtle off-color joke there, this is all the PG—nearly G-rated—world we remember from Leave It to Beaver and The Andy Griffith Show.
With no fight scenes and no special effects, so far at least, this isn’t a show about saving the world. It’s about building a family. Which, in its own way, amounts to the same thing.