Marvel’s Doctor Strange in the Multiverse of Madness has ignited fervent discussions, and at the heart of the debate is the dramatic transformation of Wanda Maximoff, also known as Scarlet Witch. For fans who lovingly named their children Wanda after her compelling journey in WandaVision, the film presents a jarring and potentially unsettling shift. Walking out of the theater, many viewers, including myself, were left grappling with complex emotions regarding Marvel’s bold, yet arguably flawed, handling of Wanda’s character arc. While there’s a certain audacity to turning a beloved Avenger, fresh off her own acclaimed streaming series, into a formidable villain responsible for the brutal onscreen deaths of multiple characters, the execution of Wanda’s descent into darkness feels rushed and ultimately unsatisfying, especially in the wake of WandaVision.
Scarlet Witch in Doctor Strange in the Multiverse of Madness, surrounded by red energy, looking menacing.
The disjointed nature of Wanda’s narrative between WandaVision and Multiverse of Madness is stark. It’s as if two entirely separate creative teams were at the helm, each with a vastly different vision for her trajectory. It’s perhaps unsurprising then that director Sam Raimi reportedly didn’t even watch WandaVision, highlighting a potential disconnect within the MCU’s interconnected storytelling. This disconnect echoes the critical failings of Game of Thrones season 8 with Daenerys Targaryen’s sudden villainous turn. Both Wanda and Daenerys’s transformations, while theoretically plausible on paper, suffer from a rushed and jarring execution on screen, leaving audiences feeling alienated and confused.
Wanda’s Character Shift: From Sympathetic Figure to Slasher Villain
Wanda Maximoff’s introduction in the MCU painted her initially as an antagonist, allied with Ultron against the Avengers. However, her swift change of heart and subsequent integration into the team positioned her as a hero. By Captain America: Civil War, even accidental casualties inflicted a heavy emotional toll on her. WandaVision further solidified her sympathetic portrayal. While she undeniably enslaved the residents of Westview in her fabricated sitcom reality, her motivations stemmed from grief and trauma, not malice. Her actions, though morally ambiguous, were not depicted as intentionally cruel, and importantly, she didn’t kill anyone directly. The WandaVision finale culminated in Wanda acknowledging the gravity of her actions, freeing Westview, and accepting the painful loss of Vision, suggesting significant personal growth and remorse.
This nuanced and sympathetic portrayal makes her abrupt villainous turn in Doctor Strange in the Multiverse of Madness all the more shocking. Early in the film, it becomes chillingly clear that Wanda has not only embraced villainy but has ascended to a level of malevolence rarely seen in the MCU. Her actions are brutal and disturbing, a stark departure from the Wanda we’ve come to know. She indiscriminately murders, showing no remorse, even for individuals she learns have families of their own. This isn’t a gradual descent into darkness; Wanda’s first action sequence showcases her ruthlessness as she callously burns people alive. The sheer brutality of her actions feels like a character assassination, betraying the established emotional depth and complexity of Wanda Maximoff.
The Darkhold: A Convenient but Weak Justification?
The film attempts to mitigate this jarring transformation by attributing Wanda’s villainy to the corrupting influence of the Darkhold, the book of forbidden knowledge. WandaVision‘s post-credits scene hinted at Wanda’s study of the Darkhold in her pursuit of her children, providing a semblance of setup. However, this setup feels inadequate to justify the extreme extent of Wanda’s villainous turn in Multiverse of Madness. The film also fails to convincingly convey the degree to which the Darkhold controls Wanda’s actions. Are we meant to believe she is fully possessed, devoid of agency? Or is it simply amplifying pre-existing dark tendencies, pushing “our” Wanda over the edge?
The former explanation, complete possession, is the only way to somewhat rationalize Wanda’s horrific behavior. Yet, the film provides scant evidence to support this interpretation. There are no moments where we witness the “real” Wanda struggling against the Darkhold’s influence, no visual cues indicating a battle for control within her mind. Instead, we are given vague pronouncements about the Darkhold’s corrupting nature, which feels like a superficial explanation for a profound character shift.
Adding to the confusion, the film’s climax suggests Wanda retained a significant degree of control throughout. The mere sight of her children reacting to her with fear is enough to seemingly break the Darkhold’s hold. There’s no elaborate ritual or magical counter-spell required, just the emotional impact of her children’s rejection. This begs the question: was the “regular” Wanda present all along, capable of halting the carnage, yet chose not to until faced with her children’s terror? This interpretation strains credulity and undermines the narrative’s attempt to blame the Darkhold entirely.
A Missed Opportunity for Character Development
Ultimately, Multiverse of Madness falters in its crucial need for a compelling and believable transition from the empathetic Wanda of WandaVision to the ruthless villain presented in the film. The absence of this transition is a significant narrative flaw. While Doctor Strange in the Multiverse of Madness delivers Sam Raimi’s signature horror-infused style, its handling of Wanda’s character arc leaves a lingering sense of unease. The film risks reducing one of the MCU’s most tragic and complex characters to a one-dimensional slasher villain, potentially concluding her story on a deeply unsatisfying note.
However, hope remains for Wanda’s future. A well-executed redemption arc that delves into the lingering questions about the Darkhold’s influence could retroactively salvage much of this narrative misstep. Despite my reservations about her villainous portrayal, a part of me admires Marvel’s audacity in taking such a significant risk – transforming a beloved Avenger into a murderous antagonist. In an era where Marvel is often criticized for playing it safe, this bold, albeit flawed, choice to embrace discomfort and controversy is commendable. Perhaps Doctor Strange in the Multiverse of Madness should be retitled Doctor Strange in the Multiverse of U Mad-ness. Because, yes, I was left feeling a bit mad – but also, undeniably, a little impressed by the sheer audacity of it all.
