As I delve into the captivating world of WandaVision, I find myself utterly enamored by the journey of Jac Schaeffer, the showrunner who masterfully weaves the intricate tapestry of this unique Marvel series. With her background in comedy writing and a passion for character-driven stories, Schaeffer has managed to breathe life into a narrative that is as heartwarming as it is mystifying.
CAUTION: SPOILERS AHEAD: The following narrative discloses crucial storylines from the initial episodes 1 and 2 of “Agatha All Along,” now available on Disney+.
Following the phenomenal popularity of “WandaVision” in 2021, its creator Jac Schaeffer quickly set about brainstorming a new streaming series for Marvel Studios. However, she struggled to move on from the show’s environment and a certain character – Agatha Harkness, the cunning, deceitful witch portrayed brilliantly by Kathryn Hahn, who unsuccessfully tried to seize the powers of the Scarlet Witch.
In conversation with EbMaster, Schaeffer expressed, “Every concept I came up with, it was as if I thought, ‘In Episode 5, the characters must travel to Westview for some reason, and this is where they meet Agatha.’ I found myself unable to stop. I’m captivated by that world.
Over time, Schaeffer came to understand that the upcoming Marvel series ought to focus solely on Agatha, and Marvel Studios found this concept particularly alluring. Approximately three years after this idea was conceived, with one initial attempt thwarted, the two-episode debut begins. In this opening scene, Agatha remains imprisoned within the enchantment cast by Wanda (Elizabeth Olsen) at the conclusion of “WandaVision,” which transformed her into the quirky neighbor character, Agnes. However, unlike a typical sitcom, Agnes has assumed the role of a seasoned detective reminiscent of characters in series such as “Mare of Easttown.” The premiere even features mock opening credits for a show titled “Agnes of Westview,” where this detective is assigned to probe the mysterious death of a woman resembling Wanda.
Ultimately, Agatha breaks free from the spell following visits by another witch named Rio Vidal (played by Aubrey Plaza) and a young individual referred to as Teen (Joe Locke). Rio appears to have a complicated past with Agatha, harboring a desire for her demise. However, Teen presents himself as an avid fan of Agatha, eager to enlist her aid in locating the Witches’ Road – a secretive realm where individuals with magical abilities can find what their heart truly desires. For both Teen and Agatha, this quest revolves around power; Teen lacks it initially, while Agatha lost all of hers at the hands of Wanda.
To reach the road, Agatha and Teen gather other struggling witches to create an impromptu coven: Lilia Calderu (Patti LuPone), a witch with divination abilities; Jennifer Kale (Sasheer Zamata), a skilled potions creator; Alice Wu-Gulliver (Ali Ahn), a protection specialist; and Sharon Davis (Debra Jo Rupp), a Westview resident with an exceptionally green thumb, whom Agatha knew from their “WandaVision” days as Mrs. Hart.
Embarking on, I found myself facing an array of perilous ordeals tailored to gauge my magical abilities, each one inching me closer to the final destination – a compelling narrative arc that mirrors the serial structure of traditional TV storytelling as presented by “Agatha All Along.
In a recent chat, Schaeffer (the director of the initial two episodes) shared insights on the making of the series, her major influences, working with Patti LuPone, and the question of deciphering Joe Locke’s spoken words with EbMaster.
“Agatha Would Love the True Crime Genre”
Initially, when proposing “WandaVision,” long before the show’s creative team was assembled, Schaeffer had envisioned creating an episode reminiscent of popular TV detective shows like “CSI.” However, as the show evolved to focus solely on classic family sitcom formats, this idea was abandoned. But once Schaeffer decided to develop an Agatha spinoff, she recognized an opportunity to revive that concept and structure the premiere around a high-end crime series instead.
She notes that what ‘WandaVision’ fans adore is the deeply engrossing sensation of being enveloped in something they cherish so dearly. “While I’m a fan of intense dramas and complex murder mysteries,” she explains, “I steer clear of them because I dislike the overused ‘dead girl tropes’. I find them exploitative more often than not. So it was almost like a trick for me to don this costume and pretend as if I were working on one of those shows.
Apart from her personal preference, Schaeffer perceived launching “Agatha All Along” in a true-crime style as a means to immerse the audience into Agatha’s unique worldview. As Schaeffer explains, Agatha finds joy in observing darkness within others, in witnessing self-centered and manipulative behavior. Therefore, she believes that Agatha would appreciate the true crime genre not as a spectator, but because she might think it exposes the unsavory aspects of human nature.
“If It Doesn’t Have to Do With Witches, We’re Not Going to Use It”
Initially, Schaeffer was clear about the first episode’s content, but after Agatha broke free from Wanda’s enchantment, it became a mystery for him. He felt that the series needed to delve into, or rather uncover, Agatha’s character. “What lies beneath the surface?” he ponders rhetorically. “The show’s progression is about peeling back the mask and discovering what’s hidden.
It took some effort for the writers to decide how to answer those questions, as they had more freedom to create their own storylines because Agatha doesn’t have a dedicated comic book series like ‘WandaVision.’ Schaeffer explains that they initially chose one narrative direction but ultimately had to change course. Although she doesn’t specify the abandoned storyline, she hints that it was discarded due to the challenges of working within the Marvel Cinematic Universe, such as being told no for various reasons, like if another property is using a particular concept or if a specific character or actor isn’t available.
Just as “WandaVision” drew heavily on the conventions of sitcoms, the writers made a conscious decision for “Agatha” to be deeply rooted in witch-related themes, discarding anything unrelated. This principle gave rise to the concept that Agatha would form a coven and subsequently face trials along the Witches’ Road, a concept initially presented in the 2016 run of Marvel’s “Scarlet Witch” comics.
Schaeffer notes that ‘WandaVision’ allows us to both appreciate and scrutinize sitcoms for their artificiality, yet enjoy their comforting nature. In ‘Agatha,’ we do the same with the concept of a witch. There’s immense power involved, but there’s also a great deal of foolishness and a troubling history filled with trauma. As the series progresses, we delve deeper into these aspects.
“It’s a Horror Show, but It’s Not a Terrifying Show”
Despite her successful writing career, Schaeffer has expressed her long-held dream of being a director: “It’s what I’ve always aspired to do,” she says. “I attended film school with the intention of directing. I began writing merely as a means to have something to direct.
Matt Shakman handled directing duties for every episode in “WandaVision”, and he’s also the one leading the 2025 film project “The Fantastic Four: First Steps”. On the other hand, Schaeffer was responsible for directing the first, second, and seventh episodes of the show titled “Agatha All Along”.
I must confess, the prospect of revealing my ambition to direct felt quite daunting, but over dinner, when the topic of directors came up, I found myself blurting out, ‘Kathryn, I believe I’m going to take on that role.’ To my relief, she responded with such enthusiasm. It was as if a rocket was launched in that very moment, igniting a new chapter in my life.
In “WandaVision,” Schaeffer understood that the series would either be influenced by the visual motifs of classic sitcoms or it would reflect the distinctive style of the Marvel Universe, which is well-known. However, “Agatha All Along” primarily takes place in a previously unexplored realm within the MCU, necessitating Schaeffer to create an entirely new aesthetic for the show – while maintaining its unique blend of horror, comedy, and fantasy that it’s carefully crafted.
She clarifies that while the production certainly has elements reminiscent of classic horrors like ‘Suspiria’, ‘The Exorcist’, and ‘Poltergeist’, it’s not intended to be genuinely terrifying. Instead, it maintains its comedic tone and remains a Marvel production. Interestingly, George Miller’s 1987 horror-comedy ‘The Witches of Eastwick’, featuring Cher, Susan Sarandon, and Michelle Pfeiffer as witch characters, served as the primary inspiration for Schaeffer.
She commented, “The witches often appear quite imposing. The camera angle is slightly low, making them seem almost menacing.” She wanted to capture a sense of grandeur, which combined an element of theatricality with the magnitude of these women.
“I Don’t Like Hiding Things From the Audience, Just to Then Be, Like, ‘Boo!’”
In the heart of “Agatha All Along” Episode 2, I found myself intrigued as Agatha grappled with uncovering Teen’s true identity. Every time he spoke his name, a mysterious black signature-like mark concealed his mouth. Later, when attempting to learn about his origin, an eerie silence enveloped him, rendering his voice inaudible. Quite a captivating mystery indeed!
Schaeffer explains, “I dislike deceiving the audience for a cheap shock, like ‘Boo!’ Instead, I believe there’s no creativity in that. So, when we discussed shrouding his identity, the primary concern is, why should he be hidden? What purpose does this serve? The response is, it revolves around the impact his mystery has on Agatha. How does it affect her? What drives her because of it? How does it emotionally impact her?
Suffice it to say, the mystery of who Teen really is has also captivated a large swath of the Marvel fandom, especially after one of the “Agatha All Along” trailers included the shot of Teen’s mouth getting obscured. Fans have already started to populate the internet with speculation, attempting to interpret the movement of Locke’s cheeks and chin to suss out Teen’s real name — a methodology that is only bound to increase with lip readers attempting to sort out what Locke is saying in the second scene.
When queried if such speculation could yield results, Schaeffer chuckles and replies, “That’s not where I’d start my search.” She continues, “It doesn’t have no relevance, but there are other avenues to explore as well.
She has become accustomed to the intense speculation among fans: By its last few episodes, “WandaVision” generated a bustling community of enthusiastic guesswork regarding potential surprises in the finale – most of which (Doctor Strange! Magneto! Mephisto!) turned out to be far from accurate.
The impact it has on me remains profound,” I admit. “My primary concern is ensuring viewers get the most enjoyment possible, so whenever people jump ahead, I can’t help but feel a pang of worry. Yet, I trust that humans have the ability to choose their desired experience. And while I hope this journey is an enjoyable one for them, I understand it might be circuitous.
She expresses, “I feel a touch sad when I observe people’s reactions who were let down by certain things. It affects me slightly, yet in creating ‘Agatha,’ this wasn’t the primary concern. Truthfully, I don’t have the power to prevent such fan expectations. That realm of fandom is beyond my influence.
“How Do I Direct Patti LuPone?!”
In terms of selecting actors for the show, one standout name appeared incredibly difficult to secure: the renowned, multiple Tony Award-winning Broadway vocal powerhouse, Patti LuPone.
Schaeffer recalls saying, “Someone who had previously collaborated with her commented, ‘She’d definitely take on the role,'” and then added, “We were taken aback, thinking ‘Really?’ Then, unexpectedly, I found myself in a Zoom call with her, and I said, ‘This character is an ancient Sicilian witch.’ To which she responded, ‘I am indeed an ancient Sicilian witch.’ And I replied, ‘I have no reason to doubt you.’
After securing her agreement – Schaeffer finds it hard to wrap his head around the turn of events – LuPone found herself confronted with a challenging truth: “I asked my husband, ‘How do I direct Patti LuPone?!’ He replied, ‘You don’t need to. That’s the point.'” (paraphrased)
To Schaeffer’s pleasure, it was discovered that LuPone thrives under direction: “She arrives and she’s like, ‘I am your instrument. I am your conduit.'” However, she also mentions that LuPone frequently contributed to improving the production. For instance, she references the pivotal scene in Episode 2 where Agatha’s coven sings “The Ballad of the Witches’ Road” in Agatha’s basement to summon the main realm. Here, LuPone played a crucial role in shaping the show’s quality.
A year ago, Schaeffer had planned that sequence, and he had a clear vision for how it should unfold. When they arrived, Patti suggested there should be vulnerability since this was a significant moment for the characters, who were exposing themselves. At first, Schaeffer disagreed, believing they were all tough and needed to express themselves powerfully. However, upon reflection, he realized Patti was right. This insight influenced everyone, and they all approached it with their individual experiences.
A specific instance continues to leave Schaeffer astonished, as Ahn, whose character’s mother was a renowned ’70s rock star who made a well-known ballad into a chart-topping pop tune, unexpectedly shed tears while singing the song on camera.
In response to the unexpected event, we were gathered around the monitor, and everyone let out a collective gasp, as Schaeffer recounts. Then, we urgently instructed, “Quickly erase it! Erase it, Ali!” This was because we had filmed her extensively already, so if she didn’t wipe it off, the continuity would be disrupted. Remarkably, she complied swiftly and with a sense of embarrassment. The moment is truly touching.
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2024-09-23 18:19