MarvelVision: WandaVision Episode 1 – “Filmed Before a Live Studio Audience”

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Our MCU podcast officially kicks off with WandaVision Episode 1, “Filmed Before a Live Studio Audience”! Vision and Scarlet Witch are trapped in a strange, ’50s sitcom world with no clear way out. We break down our reactions to the first episode of the series, as well as plenty of speculation what exactly is going on, when this takes place in the Marvel movie timeline, and Easter eggs from the comics — and movies.

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Full Episode Transcript:

Alex:                 What is up, y’all? Welcome to MarvelVision, a podcast about the MCU, and specifically, the kickoff of the MCU on Disney Plus, big deal. First episode of WandaVision, we’re talking about all of it right now. I’m Alex.

Justin:              I’m Justin.

Pete:                I’m Pete.

Alex:                 And this is very exciting. We did a preview episode for this, but we are officially getting into it now. Two episodes of WandaVision launched on Disney plus today, we’re going to talk about them individually, so check pretty soon for our second podcast talking about the second episode. But I think there’s a… I want to go to a bunch of different directions here. First of all, I want to say, for anybody who is watching this or listening to this podcast, definitely watch the episode first. We’re not going to do a complete recap or anything like that. We’re going to talk broad strokes about feelings about it. I know we have some differing opinions about-

Justin:              We’ll see. There could be some different takes in here just based on our faces.

Alex:                 Potentially, how traumatized some of us are, or not.

Justin:              Or exuberant.

Alex:                 But also, we’re going to talk about specific plot points. Obviously we’ll speculate about it. We’ll talk about potential comic book origins, though that’s going to be a tough one I think with this one.

Justin:              Dicey.

Alex:                 Yeah, a little bit dicey. Let’s start with you, Justin. Well, just to get broad strokes about this episode, this is like the 50 sitcom episode, it’s very Bewitched, I’d say. I’m not very versed, honestly, in old sitcoms.

Justin:              I feel like it was Bewitched, Dick van Dyk.

Pete:                I would say Leave It To Beaver as well, type of thing.

Alex:                 Yeah. So this is something we talked about a little on the preview episode, something that they did with the show, which I think is really fascinating, is they tried to film each episode like the time period they’re in. So this was filmed in front of a studio audience, they did the effects just naturally the way that they would do them at that time period, and the thing that I would say that I was really impressed with with this episode is I feel like they wrote the jokes and they structured it exactly how they would for that time period as well.

Justin:              Truly, I mean, we’ve talked over the years a lot about how the Marvel films, they take a genre and really play the genre and then lay the superhero specifics on top of it. So you get your original Captain America movie, you get your Guardians Of The Galaxy that feels like the fun space romp. All of them use the genre to its most extreme or to its utmost and helps them with the storytelling, and this is like an even harder commitment to that in the television world. This was an episode of this type of TV show, it was perfectly milk toast. And I mean that as a compliment, the jokes, those are real jokes that the writer’s room of an actual sitcom in the fifties would be trying to make the same level of jokes, same style of joke. It’s not mocking the format, it’s doing this perfect translation of it, which I thought was a wild choice. That is a wild tonal choice.

Alex:                 And you’re giving us insider information because as everybody knows, you’re a line producer on many TV shows for years now, so you know when you see it, writer’s room stuff.

Justin:              That is not. I do work in television, mostly on the writing and directing side, but not in the 1950s, so I don’t have a ton of experience being that [crosstalk 00:03:35]. That’s where you come in, Pete.

Alex:                 Well, something that all three of us have experience with is comedy, right? And comedy writing, and definitely, the thing that I think is kind of fascinating about the structure of this particular episode is, it starts off and it started to feel like a sketch to me. I was like, okay, I get this. It’s a sit-com, but you got Wanda Maximoff. You got Vision, so what if that was in the Marvel universe? But to your point, Justin, it really just doubles down on all the sit-com trips to the point where it’s not just a sketch, it moves beyond a sketch, and then by the end we get, which is my favorite part of this episode, we get this turn into weird, creepy horror that feels right out of a Twilight Zone of that episode down to, again, the way that they’re filming it.

Alex:                 So they’re almost doing two things at the same time, and that total consistency and that time consistency, even if in this early episode, we have no idea what’s going on, though we will get into speculation later, I really appreciated. Pete, I know we’re going to go to you for the contrary take. You were very bummed out about this. I also think though, you were not very excited to get into this show. Is there a reason you were hesitant in the first place?

Pete:                Well, yes. Tom King, an amazing writer, but the vision comic that he did was a little depressing, and was this kind of take on suburbia, if you will. This kind of, Wanda being trapped or trapping herself or whatever it was-

Alex:                 Vision being trapped.

Pete:                Vision, sorry. Yes. So that, it was tough because the comic was… You didn’t really know what was going on, but it was also very sad and depressing, and this heightened that a little bit. It got scary and depressing, and I very much was on the side of that 70s show mom when I was like, “Stop, just make this stop. Stop it. This is really uncomfortable and creepy in a way that I don’t understand, nor can I get behind.” So it was a little tough.

Justin:              Well, because I don’t think there’s a lot of speculation before this came out that it was going to be based on the Tom King vision comic, and I actually don’t think it is. This first episode that sort of tension and the suburban panic of that comic series, but this is something, a totally different animal I think. And it feels like this is a dense show. I mean, we can talk about sort of the big swing nature of this show and the fact that because of COVID, it’s coming out first as opposed to Falcon and Winter Soldier, which would have been a way more across the plate type show as we… What we think we know of it anyway. That this truly does feel like… I’m just going to be very interested to see the reaction because I feel like a lot of people might have a very similar reaction to Pete, which is like, “Wait, what is this?” This has none of the things that I expect from an Avengers.

Alex:                 100%. I think anything Marvel at this point is a safe bet, right? Like we’ve talked about this incessantly on all the podcasts we’ve done, but even with their bad stuff, it’s really, you could argue, you can quibble a little bit, but it’s like C plus or better, right? Like, “This is fine. I’ll watch it. It’s good.” With something like this, it’s definitely going to be confusing for people. If you’re a sit-com fan and you don’t know anything about it, you’re going to be like, “Who are these people and what is going on here, and what are these jokes?” If you’re a Marvel fan, you might be like, “Why is nobody hitting each other? What’s going on? This doesn’t feel like anything in the Marvel universe.”

Alex:                 So it is a big risk, but at the same time, you do have those little notes, and this is very much jumping to the middle of the episode, but you have that fake commercial in the middle of the episode.

Pete:                Yeah, what was that?

Alex:                 Well, we don’t know. We don’t know what that is yet, but that gives you that tease of Stark Industries, they probably were making weird toasters at the time, and I feel like that gives you that MCU thing to hang on to, not just Wanda and Vision, but mentioning Stark, throwing other little things in there-

Pete:                Yeah, but mentioning Stark in a bad way, in a creepy commercial where that woman doesn’t look right. I don’t think she’s okay. She was shiny. I was like, “Somebody helped that lady. I don’t know if she’s there on her own free will” That’s the thing, I wanted to understand what was happening, and it was tough because when it starts, it’s like, “Oh, hey, ’50s, fun.” Like you said, an SNL sketch, but sometimes, an SNL sketch goes too long and you’re like, “Okay, what’s happening?” And I felt like that, where it was like, “Okay, this SNL sketch is getting dark. I don’t know what the payoff is.”

Alex:                 Where’s Kate McKinnon?

Pete:                Yeah, there was-

Justin:              Don Pardo.

Pete:                Yeah, the neighbor was SNL for sure, but I wanted to enjoy this, and it kept me at a distance and kept me confused in ways that I couldn’t latch on. Even the Stark stuff, I was like, why is Stark bad? What is happening?

Justin:              Well, I do think there’s a reason they released two episodes up tap, so we haven’t seen the second episode yet.

Pete:                And that’s what I was worried about. I was like, why are you doing that? I was like, does your first episode suck? That’s why you’re releasing two? Oh, okay. Thank you,

Alex:                 Pete. I think the way you were feeling is the way the episode is supposed to make you feel. All of the things they’re trying to get across to you, and to Justin’s point, we’ll watch and talk about the second episode in a second, but my impression is that that is going to walk you further along the path to hopefully understanding a little bit of what’s going on, or at least understanding the show. Something that I was thinking about while I was watching this was, this isn’t strictly a pilot for a TV series in the way that you think of a pilot of a TV series, right? It’s setting up more a tone. It is introducing or re-introducing the characters of Wanda and Vision, but even if you’re a hardcore MC fan and you’ve read everything about the show, I think you understand what’s going on.

Alex:                 But if you’re a casual fan who watched the movies, you might have this reaction of, “Wait, hold on. I thought… Isn’t Vision dead? Did I remember that wrong? Hold on. What’s going on with Wanda? Where does this take place? Is this before the Avengers movies? Wait, I didn’t think they were married.” So there’s all these questions they’re throwing out at you depending on your level of knowledge there, if you haven’t read every Entertainment Weekly article. And again, like you were saying, Justin, I think that’s a tough place to put the audience in, but I do think it’s valuing them at the tight of their intelligence.

Justin:              And I feel like I love it. I think it’s great. To be able to play so hard and hit the genre so hard, I think is… No other place would have the confidence to start a show like this this way, so I appreciate it. And to walk through it a little bit maybe, the actual plot of the sit-com plot is the classic misunderstanding. Wanda thinks Vision’s coming home for a romantic night in, he’s actually bringing the boss over. They have a bunch of misunderstandings and try to cook dinner, so that feels like they’re just using a very standard boiler plate, 1950 sitcom on plot. But the stuff that was interesting, if we want to get into that, they-

Pete:                There was one really interesting thing that stood out to me, and I think this is going to catch on like wildfire.

Alex:                 What is this? What is happening? What is about to happen?

Pete:                A beer that’s the name of your anniversary? I mean, think about that. If you could buy a beer that has your anniversary on it, you don’t have to worry about anything. You can just enjoy your-

Justin:              You’re talking about the throwaway joke that Kathryn Hahn makes about Ralph, her husband, not remembering their anniversary, unless it was the name of a beer.

Pete:                Yeah. June 2nd was the name of the beer, and I was like, “This is cash money.” There’s like 80 million breweries out there, somebody get on this and you’re just going to be rolling around in dough.

Alex:                 I’ll tell you what, this is a little bit of a side note and we can get back to what you were saying, Justin, but Kathryn Hahn is so good at this and she’s so perfect for a sitcom, it is out of control. Her lines are easily the actual laugh out loud lines. A lot of the lines, like you were saying, I think milk toast is a good word for it, but she actually nails the jokes really, really well. All of her off-hand stuff about her husband, Ralph, it’s so stupid, but she hits it in the perfect way. Somebody mentioned that line, I don’t know if you guys saw, but they’re doing this Lucy Ricardo movie with Nicole Kidman, and I saw some random tweet where somebody was like, “Hey, I’m just saying,” and it had a picture of Lucy and a picture of Kathryn Hahn, and I was like, well I love Kathryn Hahn, I don’t know. But then watching this, it felt like, yeah, 100%, absolutely.

Justin:              It’s like weird serendipity, that that fight’s going on online, and we see the show where she literally is playing, she’s technically playing Ethel, but she is really a shoe in for Lucy. But I do think, to jump right on there, she stands out as something weird. She is, and obviously she’s [crosstalk 00:12:59].

Alex:                 Oh, that’s what you thought was weird?

Justin:              But I just mean, in the world, she is a deviation from the sitcom world. It feels like she is trying to get information out of them. She is keeping them in the plot, the sitcom plot, as the episode goes on, so she feels like she’s a presence there that wants something from them and is containing them in this, whatever it is, this fantasy world, however we learn about it.

Alex:                 How much… I only ask, because this is our first official episode here so I’m not sure how much we want to get into speculation, and certainly if you’re listening to this and you feel like you want to just talk about recap or something, we can leave the speculation stuff for the end, so just hit us up at MarvelVisionPod. We’re happy to chat about it, we’re happy to do whatever you guys like, but I-

Justin:              We’ll do anything, [crosstalk 00:13:44] I’m trapped in this child’s room. I’m trapped in my own version of suburbia.

Alex:                 Yeah. I’m also trapped in… This is child stuff over here, and not mine.

Justin:              We’re all clearly trapped in children’s rooms, because you guys have comic books and stuff like that around you. I have dresses.

Alex:                 A lot of the speculation pre-show focused on Kathryn Hahn and specifically her character, Agnes, and whether she was the character Agatha Harkness from the comic books who… There’s been different takes at Agatha Harkness, but she usually is the one who I think raised Pietro and Wanda also. She ends up, I think, raising the twins that Vision and Scarlet Witch have later on. She’s kind of an antagonist, kind of an ally, sort of straddles the line there. But certainly to your point, Justin, that’s what it feels like in this first episode, right? She knows more about what’s going on than she’s letting on.

Justin:              And don’t we get the name Harkness at one point?

Alex:                 Heart.

Justin:              Is that what it was? I heard Harkness.

Alex:                 Yeah, the boss’s name is Heart. It’s close. It’s close. Heart and Hark are different.

Justin:              Yeah, true. They are different, just the letters, the consonants.

Alex:                 Yeah. Catherine Hahn is great. While we’re talking about performances, let’s talk about Elizabeth Olsen and Paul Bettany I think. Pete, you look so bummed out right now.

Pete:                I wanted to talk about the 70s Show mom. I thought she killed it, I thought-

Alex:                 Go for it. I want to throw that to you.

Justin:              Throw the bone, That 70s Show.

Pete:                I mean, she was hysterical the way she got behind the goodbye with the hands behind the face, it was really great.

Justin:              Perfect callback.

Pete:                Yeah, it was-

Alex:                 There’s no better sitcom mom. I’m just looking up her actual name because I’ve forgotten. Isn’t she-

Justin:              Debra Jo Rupp. It’s Debra Jo Rupp.

Alex:                 Debra Jo Rup there we go. And it’s [Saul Rubinek 00:15:32] is Mr. Hart, right?

Justin:              Mm-hmm (affirmative).

Alex:                 Great actor as well.

Justin:              Yeah.

Alex:                 Great, Pete. That’s all you wanted to say? Just that you liked her?

Pete:                Yeah, I thought she was really great and she was calming me down because I was freaking the fuck out. And then she started to freak me out with the stop it, and I almost walked away.

Alex:                 What you’ve got to do, Pete, is smoke some pot and do one of those spinney table things where it checks in with all the characters.

Justin:              That’d be fun. We should do that. Pete, have you ever tried weed? You might want to give it a try.

Pete:                I’m just laughing at Alex. Go and smoke some pot, and then jut do the-

Alex:                 Yeah, woop. You know, the table thing. And have you’ve ever been a hanging out down the street, the same old gang, saw last week?

Justin:              Hello, Wisconsin.

Alex:                 Yes.

Justin:              Yeah. I think everyone in the cast I thought was great. Even the smaller parts felt like walk-ons in a studio system sitcom, where they were just like, “I’m a day player. This is the only acting job I’ve ever had.” And it was great.

Alex:                 Well, like mustache guy, he was like, “I tried out for Ross on Friends and I didn’t get it.

Justin:              Yeah, exactly. Exactly. This is my big break. No, it’s not.

Alex:                 But I do want to talk about Elizabeth Olsen and Paul Bettany, specifically because they’ve done a lot of different things as actors, but the way most fans are going to know them coming in here is as Vision, as Scarlet Witch, who’ve gone through a lot of different iterations throughout the MCU, but this is very, very different. How did you feel about their performance this year?

Justin:              Great. It’s interesting there, Elizabeth Olsen really pops I think more than Paul Bettany. Paul Bettany is in the role of this stodgy dad or stodgy husband, and he feels a little robotic in a way, and maybe that’s a purposeful choice, but it really works. That’s not a super criticism. I think the whole thing really… It’s also a little hard because the characters are confused, so it’s really hard to figure out exactly what they know, what they’re doing, and the Vision especially spends a lot of the episode like, “What are these forms? Why are we doing these things?” And clearly there’s no answer, so he’s frustrated for a lot of the time.

Alex:                 One of the things that I really liked about that joke and that I want to get back to the performances is I felt like it serves such a great dual purpose to have, like you’re saying, to have Vision be confused, not understand. He’s sort of in this prisoner type place where he can’t get out of there and nothing makes any sense, but at the same time, it actually felt very consistent with sitcoms of that era, where they would just go to an office and do office work, but they’re not actually producing anything. So I liked that quite a bit. I had an opposite reaction to you. I thought Elizabeth Olson was really solid and got to a play some very big, bold choices, but I really liked Paul Bettany a lot. I thought he nailed his jokes, he nailed the sense of that sort of character, the stodgy dad character, I was really impressed with him in particular.

Justin:              Pete?

Alex:                 Pete?

Pete:                Yeah, that guy can take a plate to the head, I’ll tell you what. Yeah. I think that the, “I am too a human, all organic material.” That was fun. Her being like, “I’m definitely married to a human man.” That was fun. I just am worried about what’s going on, where they are. It seems like maybe they’re trapped somewhere from the kind of ending that we got, and I’m worried and confused about these characters that I care about.

Justin:              Well, let’s talk about that. I think we talked a little bit about the scene where the boss asked them too many questions, they start to question the world around them, he chokes, he’s dying, and then we break out of the sitcom, the three camera format and get into these super creepy, slow, David Lynchian push-ins on each of their heads.

Pete:                So creepy, stop that.

Justin:              I thought it worked so well.

Pete:                I don’t need tension right now. The world is on fucking fire. I don’t need this right now. What are you doing?

Justin:              I can’t believe I’m saying this to a human, but I don’t think you’re in a good place to watch TV right now, just any TV.

Pete:                That’s all I got. What are you fucking saying?

Justin:              I think you need to take it back to just, not moving pictures, just regular pictures. You need to just look at a painting or something.

Alex:                 Yeah, look at some Thomas Kincaid or something like that and just bliss out.

Pete:                I don’t need to be stressed.

Alex:                 Have you ever tried smoking pot, Pete? You should try that.

Justin:              Maybe the woman who photographs those dogs with roller skates on their feet, I think that’s a good place to start for you. Or the babies that are in flowers, that’s a good… Start there and then we can work up the moving pictures.

Alex:                 I love the tension moment of that moment as well. I thought that whole sequence was great, and just to get into some speculation about potentially what’s happening here, because I really think you could only analyze the very tiny clues we have. We know that Wanda and Vision don’t know how they got there, they don’t know how they got married, they don’t know anything about the relationship, and where we left them off as mentioned, Vision was dead, they were not married, they really couldn’t be together, so something happened between there obviously.

Alex:                 The big telling thing for me is that ’70s Show lady saying, “Stop it, stop it, stop it.” Which to me, makes it feel like they’re causing this. This is not an outside villain, this is maybe, to completely throw out a wild theory or maybe not that wild theory, based on the comic Scarlet Witch is constantly going crazy and creating these alternate scenarios, it’s entirely possible that Vision’s death drove her to the brain because she created this scenario where she traps a town, locks them in there and makes them live out this sitcom fantasy where Vision is still alive.

Pete:                So she’s choking the boss then? Is that what you’re saying? She was-

Justin:              That’s what I’ve been thinking as well.

Pete:                Because when she was like, “Vision, go help him.” It was like he was released, like he was being held there and then all of a sudden, he was released and able to help.

Justin:              To keep them back. I think she’s subconsciously, it may be like the moment of Vision’s death in the movie, and-

Pete:                Like all of this is taking place in that, as he’s dying, [crosstalk 00:22:03]

Justin:              That’s what I think, it’s sort of an occurrence at Owl Creek Bridge style thing where-

Pete:                Then who’s watching the videos of this though? Who’s in that-

Justin:              So here’s my wild speculation. Rather than them taking over a town or forcing people to do it, I think they’re inside the vision. I feel like the credit sequence was first, oddly cinematic, and it’s all about being inside Vision. It’s like [nia nights 00:00:22:29], it all feels very like we’re inside this robot man. So that’s where I was thinking that, and the fact that the commercial I feel like is the other big clue. It’s one of the few moments where we see color in the episode, the red light on the toaster feels like that sort of ticking, like a bomb or like something that’s pressing and maybe you’re going to shatter their illusion as well.

Alex:                 I liked the idea of, and I think it makes a lot of sense, it doesn’t just have to be Scarlet which has powers. You also have Vision has the mind sewed, so if they are… That was destroyed by Thanos, right? But then a second version that they brought back at the end of Avengers End Game, so it’s possible that there’s some shenanigans going on in there where they got trapped in it in some way. But to Pete’s point, I do think the person watching the TV show throws a weird wrinkle in any of those theories.

Pete:                Yeah. To me, it felt like a little nod to Mojo type of thing, where they’re trapped in some kind of like TV show type of thing.

Justin:              But I think Alex, that points to what you were saying earlier with Agatha Harkness, it feels like the Scarlet Witch, because of her horrible loss, she maybe shatters a bit her consciousness and goes into Vision, and there are people trying to help her, trying to pull her out. And that’s what the people watching in the TV are, that’s what Kathryn Hahn is trying to do, or maybe she’s a malevolent presence like we were talking about earlier.

Alex:                 Well, let me ask you guys something, how many episodes could you take of this before they got to gave us more information about what’s actually going on? Could you do three more episodes like this?

Justin:              If there are more clues, bring them on, yeah. I think we are going to get some slow play of this. There’s nine episodes.

Pete:                I can’t take the slow play is what I’m saying. I need next episode, some kind of relief here.

Alex:                 I don’t think they’re going to do it that quickly, but I do think if they, and I know this is a controversial thing to call out, but if they do it like Lost pacing, where it’s slowly eeking things out, but-

Pete:                How dare you?

Alex:                 Hold on. But they actually give some answers as they’re going. I don’t need them to be like, episode two and this is Mojo, and this is-

Pete:                I don’t need it all revealed, I just need something because right now, you didn’t leave a good feeling with us.

Justin:              Sp Alex, are you saying you hope that they have just as much understanding of where the story was going on this show as they did on Lost?

Pete:                Smoke monsters? You want like two or three smoke monsters?

Alex:                 Yeah. Smoke monsters, polar bears, dog kind of wandering around.

Justin:              And then in the script, instead of it saying, oh, a tiny light blinks on a toaster, it’s like, the tiniest fucking light you’ve ever seen is blinking like crazy on the toaster. This is the Lost script. This is probably [inaudible 00:25:29] lost.

Alex:                 And if they could bring it an Outrigger at some point and never follow up on that, I think that’d be really great.

Justin:              Yes, yeah. All we got to do is get to the end of the season. We’ll explain the hatch later.

Alex:                 Yes. I think we probably need a couple more answers to that, but to your point, Pete, I would say, yeah, I don’t know. I mean, I don’t know in terms of pacing how you do it because there are nine episodes, but I feel like you got another two to three episodes before it really needs to start pulling things back for me.

Justin:              But what we said at the top of this, we haven’t watched the second episode yet. They released those two for a reason. I feel like you’re going to get something. You’re going to get a little bone, you’re going to get a little precious little Debra Jo Rupp style bone that’s going to carry you through.

Alex:                 There’s one other thing that I’ll throw out, and I only mentioned this because we did talk about this in the preview episode, but if you look at that final screen of the guy looking at the screen of watching Wanda and Vision, in the bottom left hand corner, there’s a little symbol with a sword in it which Marvel Comics fans will know that there is an organization called S.W.O.R.D. It’s usually involved with extra terrestrial life and Abigail Brand is this character who runs it, it comes out of the X-men and everything. I don’t think they’re going to do anything like that, but certainly, all three of us, everybody who is watching this stuff is trained to parse through every frame. I saw some article that was looking at the dial on the radio and was like, “Oh, this is the time it is, and that points to the issue of West Coast Avengers.” And I was like, “That’s crazy. But maybe.”

Justin:              Yeah. Well I quickly typed the names and the credits of the internal sitcom show into an anagram generator. Didn’t get a lot of hits though. Barely, Babs Digby doesn’t really mean a lot of other things.

Alex:                 I will say, I love the idea that they’re giving us such tiny little hints about everything that it’s going to drive people insane.

Justin:              It drove Pete crazy and he doesn’t even know what’s happening.

Pete:                Yeah.

Justin:              The only other clue that I would throw out there is I thought it was strange that Vision has the remote in his hand at the end. They talk about being married, they get married, which I thought was very much wish fulfillment for probably both of the characters, the characters as if Vision’s dying, it’s wish fulfillment for both of them to be married if they both know that he’s dying, but him having the remote made me feel it was odd how he had his arm around her. It stuck out to me, it feels like maybe he has a little bit of a hand on the wheel of what’s happening to them.

Pete:                But it also felt very like Married With Children moment, where it was just like, “All right, now I always got the remote. Gonna put one hand down the pants and another on the remote.”

Alex:                 [crosstalk 00:28:20], Pete? The 90s sitcom, when Paul Bettany is like, “Eh, one day, one day.” That’s going to be great. Before we wrap up here. Any other moments that you guys want to call out? And we’ve certainly done a fair amount of speculation about this episode, but any other tiny moments or anything that you thought were particularly interesting?

Pete:                The set designs are really fun? They definitely felt like a 50s TV show type of thing. The way the plates were set up and all that kind of fun stuff. Yeah, it definitely… The suits were made different. It really felt like the time period, so that was-

Justin:              Great attention to detail.

Pete:                Yeah, and even the coloring and all that kind of stuff, it was really well done.

Justin:              Pete, you must have at least loved that they chose your karaoke song, Yakety Yak, to be a centerpiece of the episode.

Pete:                Nope. Nope.

Justin:              I’ve heard you sing that just countless times.

Pete:                But if somebody awkwardly just yelled that out, that would pull people’s attention. I did appreciate the fact that sometimes when they do stuff, it’s like, “Look over here,” you know? It’s almost not believable, but the way he just belted into that song was pretty funny.

Alex:                 Good stuff. Justin, any other little things you want to call out, or have we covered everything?

Justin:              No, I think we covered it, but just in general, I loved it.

Alex:                 Yeah. I was impressed as well. Like we talked about, I think just the fact that they went for it here is really fascinating. I’m excited to talk to you guys about the rest of the episodes. I hope for Pete’s sake they pull the veil back a little bit. For Pete’s sake, I didn’t mean to say that. But for all of your sake, thank you for tuning in. We are going to be talking about episode two. If you’re awake, it’s probably in the feed already, hopefully, so check that out. And then we’re going to be talking about the episodes weekly from there.

Alex:                 If you want to support us, patreon.com/comicbookclub. Also do a live show every Tuesday night at 7:00 PM to Crowdcast and YouTube. Come hang out, we’d love to chat with you about WandaVision or anything in the MCU. Socially, you can check us out at MarvelVisionPod on Twitter, Instagram, and Facebook. We are actually live in all the feeds pretty much everywhere at this point, so iTunes, Android, Spotify, Stitcher, or the app of your choice. I believe they should be everywhere live right now where you can subscribe specifically to this podcast. Comicbookclublive.com for this podcast and many more, until next time, stay marvelous.

Justin:              Good. Forget the past. This is your future. yakety yak.