WandaVision’s deep plot goes beyond the special effects

The series WandaVision took me by pleasant surprise. And this despite what I have against superhero films (a conservative thing), because they require knowledge of the characters that I do not have and because they often adhere to the epilepsy lobby, with luminous flashes and thunderous sound effects.

I liked the weekly release, which makes me wait for the next episode, against the trend of indefinite binge-watching. Every Friday a new one comes out on Disney+. That break in pattern makes me pay more attention to the plot.

In short, a world is created by Wanda, based on her childhood experiences. Everything is in function of its creator, she lives in the fantasy of her own experiences and beliefs. Now, the provocation is that the non-hero individual does the same thing, or not?

Or more. She is urged to undo the fiction she lives in because it affects not only her own life but those of the people close to her. It is painful even to think about it, or not?

One of the emotions television can provoke is crying. I cried abundantly, wetly, silently, watching Monica Rambeau (Teyonah Parris) cross a magnetic bowl and break up into countless versions of herself, a visual metaphor that brings me closer to the reality of ego states, among other perceptions of the number of times within a single person.

WandaVision brings me a look at the Marvel Universe that no other work had succeeded in bringing. Art as it is, it walks through the dark, through grief, through farewell.