As a long-time Marvel fan and someone who appreciates a good dose of queer representation in media, I must say that this spinoff has truly delivered! It’s refreshing to see such boldness from Marvel, especially considering the alleged scrutiny over anything that could be perceived as LGBTQ+ content. It feels like they’re finally embracing the spirit of their own villains who have always been a bit on the queer side.
As I’ve been engrossed in “Agatha All Along“, I’ve found myself reminiscing about the time I caught Patti LuPone on stage in the West End’s “Company”. (Boastfully!) (Hang on, this is good!) Truth be told, there are not many performers with her talent, and that night, I was seated so high up that I could barely make out the details. But I didn’t mind because I knew that as long as I got to listen to that voice fill the theater from stage to ceiling, it would be an unforgettable experience.
When Patti LuPone reached her signature song (“Ladies Who Lunch”), everyone in the audience could sense the anticipation, she performed the entire piece without leaving her barstool and absolutely nailed it. As she concluded the song with a powerful command, “everybody RIIIIIIIIIIIIIIIIIIISE!”, everyone jumped to their feet instantly. After all, when Patti LuPone raises a martini glass in your direction, you can’t help but follow her commands. And so we all rose to our feet, clapped, cheered, and went wild until there was no one left sitting in the theater except for LuPone. We didn’t need to witness her full might to appreciate it.
Previously, it seemed as though I’d been rooting for LuPone to stand up and shine more, even before this particular episode. Now, don’t get me wrong, she has always been exceptional. But given the circumstances of being cast in this show, I felt there was so much more to her character than just a few minor roles. I was hoping that “Agatha” would provide her with an opportunity to truly own the role and make it her own in a spectacular way. However, I didn’t quite foresee how she would achieve that.
This brings us to “Death’s Hand in Mine,” a chapter that’s remarkably daring, not just due to its complex narrative structure (which makes it challenging to recount chronologically, hence I won’t attempt it). We find ourselves at a pivotal juncture in the series’ overarching plot, having recently unveiled Teen’s double identity and his link to the broader Marvel universe. This episode skillfully weaves these revelations into an entirely separate, yet equally personal story that stretches across centuries of fear and pain. It appears Lilia’s long-standing dread of her psychic abilities has reached a tipping point, necessitating a resolution that can only be found by moving forward.
Following a short spat between Agatha and Teen, the storyline predominantly focuses on Lilia as she navigates her fragmented time-traveling adventure. This journey takes her from the murky depths of The Road, to her Tarot tribulation, and all the way back to her initial tea leaf reading tutorial with her teacher, Laura Boccaletti. As crafted by Gia King and Cameron Squires, it’s a complex web of disclosures, a labyrinth, and a sequence of mental challenges. It twists and untwists to clarify the missing pieces in Lilia’s memory, which is already quite permeable on a good day. However, on The Road, things have become significantly more confused.
As it turns out, Lilia has been navigating The Road haphazardly, darting in and out of challenges, knowing just enough about what lies ahead to be terrified, yet never staying long enough to fully utilize her knowledge. Remarkably, Lilia recalls feeling similarly powerless as a young witch, unable to control her powers while her coven succumbed to fever. For so long, she’s been held captive by her own fear that it feels alien to her without it; The Road compels her to accept and express everything about herself, with devastating consequences. Her Maestra advises, “Your task is not to control, but to observe.” This is a license to release the power she has long shunned and resented, while simultaneously looking at herself with the same piercing clarity she’s been applying to others for so long.
As a movie enthusiast, reading Lilia’s Tarot spread is a crucial part of the larger Road mystery puzzle. “Death’s Hand in Mine” not only fits perfectly into the grand scheme, but it also serves as a poignant final act of self-compassion from Lilia herself. It was the LuPone episode I had been eagerly anticipating, and remarkably, she doesn’t sing a single note – an intriguing departure from a show typically rich in music. Yet, this unconventional choice proves to be a smart one, as her acting performance is as profound and daring as her vocal prowess.
The exceptional trust placed in its unique qualities and vision is what has made “Agatha All Along” an impressive surprise across the board. Moreover, “Death’s Hand in Mine” intensifies this factor on multiple aspects beyond just storytelling. In a universe like the Marvel Cinematic Universe, it’s challenging for a single project to establish a distinctive visual style, but “Agatha” has managed to do so, and I must acknowledge its accomplishment. The design of Lilia’s trial set is so richly atmospheric and eerie that it’s almost forgettable that everyone present is dressed as Disney characters (with Jen, portrayed in a twisted version of Snow White’s wicked stepmother: “I’d rather not discuss it.”).
It’s apparent that the show subtly references its connection to Marvel Studios, yet creator Jac Schaeffer skillfully blends the Marvel roots with a unique narrative twist. One intriguing aspect of the show is Agatha Harkness’s overt depiction as a queer character, which requires no hidden innuendos for viewers to grasp. In response to Teen’s queries about Wanda’s fate (“is she truly deceased?”) and Rio’s location (“where has she gone?”), Agatha humorously retorts, “if you seek straightforward answers, ask a straightforward individual.” This leaves one wondering if the Marvel executives are aware of the show’s explicit LGBTQ+ themes. It seems peculiar that the same corporation, Disney, promotes openly queer content on social media while reportedly removing anything deemed remotely gay from other productions. However, it is the tenacity of these fictional witches to persist that recalls the enduring spirit of Disney villains, who have traditionally been portrayed as queer characters.
Wrapping up, we’re saying a heartfelt goodbye to Lilia and LuPone, who each added unique elements to this series that will be deeply felt. Although Agatha and Teen’s emotional struggles have been central to the show, LuPone shines a spotlight on Lilia’s emotional arc in this episode. Her climactic scene of self-sacrifice is fittingly dramatic as Lilia overturns the entire trial, symbolically flipping the Tower card and sending herself and the Salem Seven soaring into the air, only to be met by swords waiting above.
But it’s her confessions to Jen underground that really struck me. LuPone and Sasheer Zamata both lock in, immediately creating a paired dynamic I already miss. When Jen asks Lilia, sincerely, why she’d ever want to hide her own power, she opens the door for Lilia to be honest with herself for maybe the first time in her long life. If I’d been sitting in the uppermost balcony for the moment Lilia snaps that she’s “not confused,” I’d have been prepping myself for the standing o. What a joy to watch LuPone let Lilia rip, whether covered in dirt, in Glinda drag, or trading quiet wisdom with her Sicilian elder. Getting to finally see both LuPone and Lilia in their elements is a thrill that makes the episode’s final twist of the knife even more effective. “Death comes for us all,” as Lilia’s already told us, and sure enough, Rio’s come looking for her.
The Snarkhold-overs:
Indeed, it’s been confirmed: Rio is Death, and let me tell you, she’s sizzling hot! There’s just something about her dark Grim Reaper-meets-Day of the Dead vibe that really appeals to me. You know what they say, I’ve always got a soft spot for the rebellious types. (By the way, this week’s Kathryn Hahn line delivery contender, but feel free to suggest more in the comments as usual!)
It’s quite amusing when it becomes clear that Death is, in fact, the first Green Witch, as Agatha fixes them with a stern gaze, her face adorned with vibrant green makeup. Her reputation as the most notorious witch on the road takes a hit.
The adolescent is inquiring, “Am I Billy or William?” Although my guess is that he could go by either name, I’ll refer to him as “the Adolescent” at this time, acknowledging his personal exploration and self-discovery process.
Excited that Lilia is pushing Jen as “the way forward.” I believe Jen’s initial potion trial merely scratched the surface following the deeper emotional disclosures from Lilia and Alice’s trials, and I eagerly anticipate Zamata receiving her well-deserved focus in the upcoming not one but two episodes.
For another episode, another fantastic end credits tune! The poignant “Time in a Bottle” by Jim Croce beautifully encapsulates the bittersweet goodbye for Lilia and LuPone (“it seems there never is enough time to do the things you want to do, once you find them / I’ve searched enough to know that you’re the one I wish to spend time with …”). Farewell to a genuine soul, may she continue reading tea leaves in an eternal garden.
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2024-10-24 17:55