Elizabeth Olsen as Wanda and Paul Bettany as Vision in "WandaVision."

“WandaVision,” which premiered on Jan. 15 and marked the first major release for Phase Four of the Marvel Cinematic Universe, is an extraordinary start to Marvel’s 2021 line-up. The show centers on superheroes Wanda Maximoff a.k.a. Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) post-“Avengers: Endgame,” as Wanda and Vision seemingly find themselves living in a ‘50s sitcom. The dynamic duo moves into the suburbs of Westview, trying to conceal their powers and peculiarities amongst their apparently normal neighbors. However, not all is as it appears, and the pair’s idyllic fantasy begins to crumble.

From the beginning, “WandaVision” perfectly balances entertainment with substance. The premiere absolutely commits to the aesthetics and form of a ‘50s sitcom, down to the finest details of setting and costume. Even the editing techniques and effects give a nod to an earlier time and create a carefully crafted atmosphere. Marvel’s signature comedic wit is perfectly adapted to the situational comedy style, translating to laugh-out-loud funny moments throughout. This intense dedication to worldbuilding works to create a completely unexpected dissonance when, throughout the show, Wanda and Vision experience moments of oddity and horror in their otherwise picturesque domestic life. This vague and unsettling uncertainty is pushed to the next level when, at the end of the episode, the entire show is revealed to be a television show within a television show: Viewers have been watching “WandaVision” through the television of someone within the Marvel Cinematic Universe.

Fans of both the Marvel Cinematic Universe and the original comics will find plenty of Easter eggs throughout this premiere. Wanda uses transmutation (the power to reshape the molecular structure of any form of matter) in a comedic moment where she is trying to cook a chicken. Wanda first overcooks it, saying, “Oh no, too much!”, and then tries to undo the action, accidentally turning it into a basket of eggs while crying “Oh, no, not enough!”, concerned more about ruining dinner than discovering powers she has never used before. This episode even came with its own mid-premiere commercial, filled with more nods to the Marvel universe. The ad showed off a Stark Industries toaster, which makes Iron Man’s armor’s activation sound as it toasts bread. It also refers to the fact that Vision is both made by Tony Stark and frequently referred to as a toaster in both comics and fan culture.

While Wanda and Vision have been major characters in the comics, they have been mainly supporting characters within the realm of the Marvel Cinematic Universe. Olsen and Bettany reprise their widely beloved roles with talent and commitment that really sells the unusualness of the show, especially considering how unique and layered “WandaVision” is in regards to other works in the Marvel franchise. The stellar acting is another example of the wonderful balance this premiere presents when combining the universe fans know and love with something completely original and mind-bending.

“WandaVision,” on its surface a witty and frivolous sitcom about two superheroes trying their hand at living in suburbia, is filled with complexities, raising question after question about how this show fits into the overarching narrative of the Marvel Cinematic Universe. How is Vision in the picture considering his tragic death during “Avengers: Infinity War?” Are these events figments of Wanda’s imagination? How does this show exist as a show within the world of the Marvel franchise, and how important are the names listed in the fake credits sequence after the final reveal from the premiere? This premiere leaves viewers on the edge of their seats, eager to solve these mysteries and more. Episode one of “WandaVision” not only garners excitement for the rest of this miniseries, but for the slew of Marvel shows coming out in the near future. Marvel is pushing the boundaries of what fans know and expect, and “WandaVision” is shaping up to be a series well worth following.

— Staff writer Madi L. Fabber can be reached at madi.fabber@thecrimson.com