On a Very Special Episode...
"On a Very Special Episode..." | |
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WandaVision episode | |
Episode no. | Episode 5 |
Directed by | Matt Shakman |
Written by |
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Produced by | Jac Schaeffer |
Cinematography by | Jess Hall |
Editing by | Nona Khodai |
Original release date | February 5, 2021 |
Running time | 41 minutes |
Cast | |
| |
"On a Very Special Episode..." is the fifth episode of the American television miniseries WandaVision, based on Marvel Comics featuring the characters Wanda Maximoff / Scarlet Witch and Vision. It follows the couple as they try to conceal their powers while living an idyllic suburban life in the town of Westview, New Jersey. The episode is set in the Marvel Cinematic Universe (MCU), sharing continuity with the films of the franchise. It was written by Peter Cameron and Mackenzie Dohr, and directed by Matt Shakman.
"On a Very Special Episode..." was released on the streaming service
Plot
In the fictional WandaVision program, now set during the 1980s/early 1990s,
Watching the WandaVision series from outside the town of Westview,
The boys ask to keep a dog that appears at the house, and Agnes suggests the name Sparky. Maximoff almost reveals her abilities to Agnes, concerning Vision. When Maximoff and Vision decide the boys are too young to care for Sparky, they age up to 10 years old. At work, Vision reads an email from S.W.O.R.D. that reveals the situation in Westview. He breaks the trance over his co-worker Norm, a real Westview resident named Abilash Tandon, who begs Vision to stop "her". Vision then reverts Abilash to Norm.
S.W.O.R.D. sends a drone from the 1980s into Westview and attempts to kill Maximoff on Hayward's orders. She emerges from the static field surrounding the town with the drone and warns Hayward to leave her alone. After Sparky unexpectedly dies, the twins ask their mother to bring him back to life, but she says they cannot do that and urges them to deal with their grief.
Vision confronts Maximoff about controlling the town, revealing that he cannot remember his life or identity before coming to Westview. Maximoff says that not everything is under her control, and she does not know how it started. They are interrupted again when her dead brother "
A commercial during the WandaVision program advertises Lagos paper towels.
Production
Development
By October 2018,
Writing
Schaeffer felt the entire decade of 1980s sitcoms was an inspiration for the episode, highlighting Family Ties, Full House, Growing Pains, Who's the Boss?, Roseanne, and Just the Ten of Us in particular.[11] Bettany noted that some 1980s sitcoms had "teachable moments",[12] which were sometimes marketed as "a very special episode" when they covered difficult issues.[13] One of the topics that the characters in "On a Very Special Episode..." discuss is not being able to skip the difficult parts of life.[14]
The writers felt that this episode was an important turning point in the series' storyline since it returns to the sitcom reality after the previous episode revealed what is happening in the real world of the MCU, and because it combines the two storylines. It also directly addresses Maximoff and Vision's understanding of what is happening in the series, with Maximoff starting to acknowledge that she has control over the reality while Vision begins to work that out himself. Dohr noted that 1980s sitcoms such as Family Ties and Growing Pains often featured the central family together in a lot of scenes, and that is what Maximoff wants to happen to her family in this episode, but the more she tries to control them, the more she loses control such as when the twins age-up. Early drafts had elements of the house such as the plumbing starting to go "haywire" as another sign that Maximoff was losing control, but this idea was eventually moved to "Breaking the Fourth Wall". Other ideas from early drafts that did not make the final episode include Maximoff trying to distract Vision by having neighbors appear at the house, such as Phil arriving with a band or Dottie coming to hold an exercise class. Agnes appears in a Jazzercise outfit as a reference to the latter. Dohr tried to balance the sitcom scenes with the logistics of Rambeau's storyline, during which the sitcom reality is given the nickname "The Hex" which Dohr came up with. Both storylines connect when Maximoff emerges from the Hex, which the writers decided would happen early on in the series' development and referred to as the "Hex flex".[15]: 17:48–22:57
Schaeffer was interested in starting to show differences of opinion seep into Maximoff and Vision's marriage, leading to a more "authentic" domestic picture of them compared to the depiction of their relationship in earlier episodes.[16] Bettany added that the series would take advantage of the fact that couples seen in sitcoms beginning in the 1980s "aren't necessarily that fond of each other" compared to those in sitcoms from the 1950s to 1970s.[12] Cameron wrote the scene where Maximoff and Vision argue at the end of the episode, and his initial version did not have any superhero elements in it, so he could focus on the grounded drama. He described the scene as an argument between a wife who does not want to talk about a "really touchy subject" with her husband, who is "hell-bent" on discussing it. He added other issues that the couple had also not been discussing into the conversation, since that often happens in most "meaningful" arguments in relationships. Cameron then went back and added superhero elements at the main pivot points of the argument, such as Maximoff rolling the end credits of the sitcom instead of slamming a door on Vision, and Vision levitating instead of slamming his fist on a table. Bettany later added a line where he says "I'm scared", which Cameron felt was a beautiful addition to the scene since it shows Vision's vulnerability within the argument.[15]: 22:59–25:14
The series features fake commercials that Feige said would show "part of the truths of the show beginning to leak out",
Casting
The episode stars Elizabeth Olsen as Wanda Maximoff, Paul Bettany as Vision,
: 35:15–35:33Maximoff and Vision's sons have roles in the episode, with Julian Hilliard and Baylen Bielitz as
Design
Shakman and cinematographer Jess Hall put together a collection of images from existing series that influenced the framing, composition, and color of the episode's sitcom setting,[27] and Hall created a specific color palette of 20 to 30 colors for the episode based on those reference images, so he could control the "visual integrity in color" of the episode. Hall worked with production designer Mark Worthington and costume designer Mayes C. Rubeo to ensure that the sets and costumes for the episode matched with his color palette.[27] The way film was transferred to video in the 1980s caused a red channel bloom in the picture, so this effect was added to the episode during the digital intermediate process.[27] Hahn suggested her own makeup, inspired by aerobics videos from the 1980s, and worked with makeup department co-head Vasilios Tanis to develop the look which includes "vibrant pink lipstick and heavy purple eyeliner". Hair stylist Karen Bartek used wigs for the hairstyles in the episode to allow it to be filmed at the same time as other episodes without the actors' hair having to be re-styled to change between eras. Olsen's "unrestrained '80s curls" in the episode were the actress's favorite wig for the series.[28]
Filming
Soundstage filming occurred at
Visual effects
Tara DeMarco served as the visual effects supervisor for WandaVision, with the episode's visual effects created by
DeMarco used Vision's introduction in Avengers: Age of Ultron (2015), which was primarily created by Lola VFX, as the definitive version of the character when approaching the visual effects for him in WandaVision. Bettany wore a bald cap and face makeup on set to match Vision's color, as well as tracking markers for the visual effects teams to reference.[38] Complex 3D and digital makeup techniques were then used to create the character, with sections of Bettany's face replaced with CGI on a shot-by-shot basis; the actor's eyes, nose, and mouth were usually the only elements retained.[38] Lola was the primary vendor for Vision in the episode, with effects supervisor Trent Claus noting that particular attention was paid to the "laugh lines or creases beneath [Bettany's] eyes or crow's feet" since completely removing this would remove the actor's performance. Instead, these had to be merged with the synthezoid look, so they appeared like they were "naturally folding in that spot". Claus added that the visual effects work for Vision's face is aided by the subtle performance that Bettany gives to the character. SSVFX did the visual effects for young Vision in the opening sequence, applying the same approach to the photographs that were selected for the sequence as they would to the normal Vision effects shots.[41] Lola was also tasked with replacing Pietro's hair in the episode after Marvel decided that the hair should be more like the version seen in the films than the white wig that Peters wore on set. Lola is known for its beauty, cosmetic, and de-aging visual effects, but Claus said working with digital hair is "always so difficult". The effect was created by manipulating the image in 2D. The change only needed to be made for the few shots that the character appears in for this episode, as well as one from the seventh episode that was filmed at the same time, since Peters' wig was adjusted for the filming of other episodes.[42]
Zoic Studios created the shot where Billy and Tommy age up from five-year-olds to ten years olds. The shot was inspired by similar "morphs" from the 1990s,[43] such as those seen in the music videos for Michael Jackson's "Black or White" and the Backstreet Boys' "As Long as You Love Me".[44] The effect was created using a shot of the younger actors on a green screen, a shot of the older actors on set, and a clean background plate without either.[43][44] Since people tend to look at the eyes when looking at a face, the team started by lining up the eyes of the actors and morphing around them. They then adjusted the positions of the younger actors to be correct for their height.[44] Due to the differences between the actors' hair and faces across the two ages, Zoic had to create different ranges of hair growth and paint over certain areas to smooth out the transition.[43]
Music
External audio | |
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Making It Up As We Go Along (From "WandaVision: Episode 5"/Audio Only) presents the full theme song from the episode by Robert Lopez and Kristen Anderson-Lopez, MarvelMusicVevo 's channel |
Theme song composers Kristen Anderson-Lopez and Robert Lopez said the theme for the episode, titled "Making it Up as We Go Along",[45] was their favorite song that they wrote for the series since they grew up in the 1980s. Lopez felt the "craft of theme songwriting peaked in the '80s", with the themes being "longer... touchy-feely ballads".[46] This was the style they chose to emulate with "Making it Up as We Go Along", and since the theme songs of the era were longer, it allowed the couple to "land the emotion of it". Lopez added that it was easy for them to find those emotions because he and Anderson-Lopez have children the same age as Maximoff and Vision's in the episode, and they were also "trying to make things work even as the world kind of crumbles around us".[47]
The song features musical nods to the theme songs of Growing Pains ("
No. | Title | Length |
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1. | "Making It Up As We Go Along" | 1:42 |
2. | "Ten Years Old" | 0:36 |
3. | "Lagos" | 0:30 |
4. | "Evaluation" | 3:08 |
5. | "Family Is Forever" | 0:53 |
6. | "Missile Strike" | 4:02 |
7. | "Cue Credits" | 0:29 |
8. | "Ode to Sparky" | 1:48 |
9. | "Pietro" | 3:11 |
Total length: | 16:19 |
Marketing
In early December 2020, six posters for the series were released daily, each depicting a decade from the 1950s through the 2000s.[49] Charles Pulliam-Moore from io9 felt that unlike the previous decade posters, the one for the 1980s did not feature many items to garner clues from though it had an "unnatural reflection in the background that may or may not point to the 'falseness' of the reality being depicted".[50] After the episode's release, Marvel announced merchandise inspired by the episode as part of its weekly "Marvel Must Haves" promotion for each episode of the series, including t-shirts and a S.W.O.R.D.-branded stainless steel bottle and can-shaped glass.[51] In March 2021, Marvel partnered with chef Justin Warner to release a recipe for Billy and Tommy's Throwback After-School Snack, cookies and frosting that are a "retro snack" for the "retro feel" of the episode.[52]
Release
"On a Very Special Episode..." was released on the streaming service Disney+ on February 5, 2021.[53] The episode, along with the rest of WandaVision, was released on Ultra HD Blu-ray and Blu-ray on November 28, 2023.[54]
Reception
Audience viewership
Nielsen Media Research, which measures the number of minutes watched by United States audiences on television sets, listed WandaVision as the third most-watched original streaming series for the week of February 1 to 7, 2021. 589 million minutes were viewed across the available five episodes, the highest for the series at that point.[55]
Critical response
The review aggregator website Rotten Tomatoes reported a 100% approval rating, with an average score of 8.40/10 based on 26 reviews. The site's critical consensus reads, "'On a Very Special Episode...' of WandaVision, there are no new answers, but some well played twists open the door for a host of new questions—and one very unexpected guest."[56]
Stephen Robinson at The A.V. Club said Maximoff confronting the S.W.O.R.D. agents outside the anomaly was the "oh shit" moment of the episode, noting how Maximoff's Sokovian accent returned for this scene. Robinson gave the episode a "B".[57] Writing for Entertainment Weekly, Chancellor Agard said the episode lived up to its title and enjoyed seeing Elizabeth Olsen continue to "flesh Wanda out", creating a performance that makes the character "painfully human", pointing to the standoff with S.W.O.R.D. as an example. Christian Holub, Agard's colleague, likened the scene where Maximoff begins playing the sitcom's credits to avoid talking with Vision to the short film Too Many Cooks (2014).[21] Rosie Knight, reviewing the episode for Den of Geek, stated "It seems nearly impossible to follow an episode like 'We Interrupt This Program', but as we hit the midpoint of the season the team behind WandaVision has managed it". She thought the episode's two storylines worked well together, and said the aging of Tommy and Billy was a "creepy and narratively convenient conceit that works to the episode's advantage". Knight also highlighted the strong performances from Olsen and Bettany.[58] Writing for Rolling Stone, Alan Sepinwall said "On a Very Special Episode" was the "liveliest, most engrossing, and purely entertaining episode" of the series so far and may have made the "laborious" early episodes worth it.[13]
Matt Purslow of
Many reviewers discussed Evan Peters' appearance as the "recast" Pietro. Generally described as surprising and exciting,[21][58][59][60][61] it was noted how Peters played the character similarly to his version from the X-Men films,[21][60] with /Film's Ethan Saathoff feeling Peters put a "Fonzie-like spin" on the character which fit the 1980s sitcom setting.[14] Other aspects of his appearance fit within the sitcom timeframe, such as Peters wearing a 1980s version of his costume from the X-Men films,[58] and referencing past role recastings in sitcoms such as the two Darrin Stephens actors on Bewitched, the two Becky Conner actresses on Roseanne, and the two Vivian Banks actresses on The Fresh Prince of Bel-Air.[57][13] The appearance was believed to help set up the idea of the multiverse that would be explored in further Phase Four properties,[9][13][21][59][62] and a way to begin to introduce mutants to the MCU.[21][62] Polygon's Matt Patches called the appearance a "haunting vibe" and "both a nod to the knotted rights issues" that previously applied to the character before Disney acquired 21st Century Fox and also a "mind-bender on its own".[9] Jack Shepard at Total Film said the general response to WandaVision lacked the "fervor" received by the Disney+ Star Wars series The Mandalorian, but he felt Peters' appearance would "rocket" the series into the "social consciousness", which he compared to the introduction of Grogu in The Mandalorian.[61] Conversely, Agard and Riesman felt the appearance was "very fan-servicey" and would be lost on casual viewers.[21][60]
Accolades
For the
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External links
- "On a Very Special Episode..." at IMDb