As a long-time fan of musical theater and a practitioner of Wicca myself, I found “If I Can’t Reach You / Let My Song Teach You” to be a truly captivating episode that expertly blended the supernatural with the emotional. Kathryn Hahn’s portrayal of Agatha was, as always, spellbinding – her raw emotion when Rio shatters her maternal hopes was palpable and heart-wrenching.
In the studio that previously introduced an exclusively gay moment in Disney’s 2017 production, Marvel TV has now presented a relationship between Agatha Harkness and Rio Vidal that is even more overtly gay. Although it hasn’t been confirmed whether they will physically kiss, the intense emotional connection between them, as shown by Agatha holding Rio’s neck in a life-saving gesture, leaves no room for doubt about their romantic bond. While some international markets may not acknowledge this, the profound nature of their relationship is clear – it runs deeper than anything either character can articulate without unintentionally causing harm to each other. As Rio puts it, they are each other’s scars, inflicting wounds that go beyond what they can easily express or intentionally hide.
It’s quite clear that the series “Agatha All Along” intentionally incorporates queer themes, reflecting how witches in traditionally have been portrayed as outcasts for being different from societal norms. Agatha, a character introduced early in the show, has gathered a group of unconventional witches, often labeled as troublemakers but more accurately described as rule-breakers. These women, including Agatha, Lilia, Jen, and Alice, are particularly non-conforming even among witches. If one were to overlook the subtle lesbian undercurrents in “Agatha All Along,” the show would not be fulfilling its purpose. The way Hahn subtly alters Agatha’s body language when she wears her preferred button-up shirt and trousers is a clear nod to queer culture (you know what I mean). Lastly, the chemistry between Hahn and Plaza is so strong that it would be a real shame not to explore something more than just friendship.
Let’s go back to where this episode started. Sadly, Mrs. Sharon Hart Davis appears to have passed away (Rest in Peace). This leaves a vacancy within the coven and tension among its members. For Agatha, it seems like just another price to pay for life on The Road, something that’s new to others who haven’t traveled this path before. It appears that Agatha’s past journey ended with only one other survivor – a person I’d wager is none other than the witch we summon from the ground mere moments later.
The show’s pace significantly escalates when the character played by Rio returns, creating a strong impact thanks to Aubrey Plaza’s captivating, edgy, and central performance. Her portrayal is reminiscent of Robin Williams’ character in Jumanji, but with a seductive twist on Halloween costumes. This is a compliment as Jumanji is timeless. Moreover, the entire coven is left bewildered by her charm, causing them to question their feelings – “Do I dislike her or do I want her contact information?” (This statement is a compliment, long live Jumanji.)
Undoubtedly, The Road has another challenge in store for them. This time, they approach a house that gives Alice an eerie feeling, not just because it resembles the location of Bad Times at the El Royale, a film indeed real. The atmosphere of the late 60s/early 70s strongly recalls Alice’s mother’s recording studio, stirring memories that carry all her emotional baggage. Surprisingly, they all look quite stylish (despite questionable wigs), with Rio and Agatha in particular flirting with necklines so low they hint at genuine seductiveness. So, what’s coming next? Maybe a Marvel superhero sporting chest hair? A girl can hope…
As a metronome-like countdown clock begins, reminiscent of piano lessons long past for some, the coven members writhe in agony, one after another. Unbeknownst to them all, the ‘birthmarks’ on Alice’s shoulder are signs of the curse her mother had warned her about, and it is now spreading through their group unless they can halt its progression. But how, you might wonder? Through song, naturally!
If we found ourselves in a situation where survival required a “Rock Band” performance, it would be Guns N’ Roses’ “Sweet Child O’Mine”. Regrettably, that’s not an option for our witches. Agatha deduces correctly that “Lorna’s Ballad”, the cover Alice’s mother sang to summon The Road, is in fact a protective charm. As long as someone is singing this song somewhere, Alice gains some respite from the curse that claimed her mother and grandmother earlier. In the studio, Alice playing the song on piano (with Lilia accompanying using maracas) is enough to banish the demon that emerges, looking remarkably like Buffy, accompanied by bursts of flame. Breaking the cycle of generational trauma, it’s an impressive display, and Ali Ahn delivers with style.
In this scene from “If I Can’t Reach You / Let My Song Teach You,” we find ourselves back with characters Agatha and Rio, who are once more locked in a tense standoff. As previously mentioned, things heat up significantly as Agatha reaches for Rio, preparing to initiate a passionate kiss that seems almost unstoppable. However, just as they’re about to merge, Rio halts the moment, shattering the sensual atmosphere by revealing that the injured teenager is not hers. “That boy isn’t yours,” she states bluntly. This straightforward remark pierces Agatha’s heart to its core, causing her to momentarily reveal her raw sorrow on her face before she gathers herself once more, determined.
Similar to the previous installment, the trial forms the framework for this episode, imbuing it with an exciting vibrancy akin to a grand theme party. The titular episode “If I Can’t Reach You / Let My Song Teach You” is full of delight, and the excitement building around Patti Lupone’s solo performance under the limelight is palpable. However, like its predecessor, this episode shares a recurring thematic issue. The prior trial utilized Jen’s expertise to emphasize her background, much as this one does for Alice. We delve deeper into their individual stories, from Alice’s affliction to Jen’s harrowing experiences with a notorious white Boston physician (a phrase that carries a heavy burden). Yet, despite Agatha’s hesitant growth in trusting her coven rather than abandoning them, both Alice and Jen’s episodes revolve significantly around the series’ leading character – Agatha. As the song suggests, this narrative has always been about Agatha.
The Snarkhold-overs:
Notice about programming: From now on, I won’t have the episodes ahead of time; instead, I will be watching them as they air like a regular viewer. I might make some quick oversights while preparing these recaps promptly, so please be patient with me. Thank you!
• Kathryn Hahn’s Line of the Week: “Hey there, that’s my group of witches you’re referring to! I’m no longer the type who practices that kind of magic!
• This week’s Line Reading by Patti LuPone (a title long overdue, considering she delivered it while wearing a wig reminiscent of Liza Minnelli): “What a delight! Fire!
Regarding that topic, I strongly urge you all to revisit Lupone’s response when Rio transformed into a demon voice. Combined with her comment about being “swathed in nipples,” it seems to me that their shared living arrangement with Plaza must have been quite chaotic, leaving me envious of them once more.
Hey there fellow movie enthusiast! Just wanted to give a nod to my roomie who caught on to the clever anagram in that flick we’re watching – Alice asking for “Advil” right before Rio Vidal emerges from the ground, it turns out, is a sneaky way of welcoming her back. Quite the chuckle!
It seems like you’re referring to Rio as “The Green Witch,” isn’t that correct? Marvel databases offer intriguing insights with this nickname, but we never truly know! Let the imaginative theories run wild!
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2024-10-03 18:54