As a longtime fan of Marvel Cinematic Universe (MCU), I must admit that I initially found the interconnectedness of the stories to be overwhelming. However, after reading this insightful interview with the creators behind Agatha All Along, I’ve gained a newfound appreciation for the benefits of such an intricate web of narratives.
[This story contains spoilers through Agatha All Along’s fourth episode, “If I Can’t Reach You / Let My Song Teach You”]
Following the success of Marvel Studios’ hit series “WandaVision”, showrunner Jac Schaeffer decided to step into the director’s chair as a reward for herself. Not only was this show Disney+’s most popular new series of 2021, but it also earned 23 Emmy nominations, won three awards, and even had a number one hit single titled “Agatha All Along”. Given that she was planning a spinoff featuring Kathryn Hahn’s character Agatha Harkness in the lead role, Schaeffer felt inspired to revive her directorial aspirations, last seen in 2009 with the film “Timer”. (This sci-fi romantic comedy starred Emma Caulfield, who also appeared in “WandaVision” and “Agatha All Along”.)
When a project like WandaVision becomes successful and you have some funds as a result, the dilemma is: how will you use your earnings? One option was using it to get back behind the camera, and that’s exactly what Schaeffer did by directing several episodes this season. He shared with The Hollywood Reporter that there’s nothing quite like writing something, executing it yourself, and then overseeing post-production – it’s the pinnacle of creativity.
In the fourth episode titled “If I Can’t Reach You / Let My Song Teach You,” written by Giovanna Sarquis and directed by Rachel Goldberg, the Disney+ series Agatha All Along approaches its midpoint. The climax of this episode unfolds after the coven’s latest trial on Witches’ Road, leading to a poignant scene between Agatha and Aubrey Plaza’s character, Rio. This moment appears to be an attempt by Agatha to reignite their old romance, which seemed doomed in the past. However, rather than reciprocating Agatha’s kiss, Rio discloses a significant twist: Joe Locke’s character, Teen, is not Agatha’s deceased son, Nicholas Scratch, resurrected or transformed in some way.
At present, Schaeffer is limited in what he can reveal about whether the audience should trust Rio’s slyness.
Schaeffer suggests that the key aspect of the narrative lies in the relationship between Agatha and Rio. At this stage in the story, it seems unlikely for them to cross paths, which is the intriguing dilemma. Given their undeniable chemistry and passionate connection, what’s preventing them from being together? This is essentially what that scene hints at.
In the third episode of “Through Many Miles of Tricks and Trials,” as depicted by Cameron Squires and Goldberg, actress Sasheer Zamata’s character Jennifer Kale brings up the topic of Scratch to Teen. She suggests a rumor that he could be associated with the Marvel villain Mephisto, a demonic character often speculated about in relation to the series WandaVision. At one point, these theories were quite intense and left Schaeffer feeling overwhelmed. However, despite the much-discussed rumors surrounding Mephisto and Magneto following the finale of WandaVision, Schaeffer expressed little interest in him or the ongoing chatter about Magneto.
However, since Mephisto is fully integrated into her projects, Schaeffer openly acknowledges that the decision surpasses hers in importance.
In a chat with executive producer Mary Livanos, Marvel’s head of streaming Brad Winderbaum, and Kevin Feige from Marvel Studios, Schaeffer reveals that the discussion was more than just about the show or himself. It encompassed the broader Marvel universe. This isn’t about me feeling defensive or having any personal motive because the intense debate deeply rooted in comics isn’t as captivating to me as the ongoing narrative in the current series.
In a recent chat with THR, Schaeffer discusses the peculiar traits of Patti LuPone’s beloved character Lilia, and he sheds light on a popular WandaVision theory involving Debra Jo Rupp’s character Sharon Davis.
We spoke previously about how you were back in Kate Winslet territory with the Agnes of Westview fantasy in Agatha All Along’s series premiere, and shortly after that, I talked to Craig Zobel, who directed Mare of Easttown in its entirety. The conversation was largely about how he had to reference Matt Reeves’ The Batman on his new series, The Penguin, but then I broke the news to him that Agatha All Along had just referenced his work on Mare. So he lit up because he was unaware of it, and he was genuinely touched to be a reference for the first time. You made his day.
I appreciate your passing along the information and the message. I’m acquainted with Brad Ingelsby, the showrunner of Mare, and we’ve exchanged many emails about Agatha. His response has been genuinely heartwarming and reassuring. It can be nerve-wracking to share ideas, but he seems thrilled by it, which makes our interaction all the more enjoyable. I haven’t had the pleasure of meeting Craig yet, but I’ve heard from colleagues that he’s fantastic. Of course, I already knew he was extremely talented, so your feedback is truly gratifying. It’s just wonderful to hear such positive things about him.
Were you drawn to the concept of Mare, a prestige drama, partly because both Mare and Agatha have lost their sons, which seems to be a significant burden for them?
Absolutely, that element was indeed included. Kate’s exceptional performance in the show is undeniable, and Kathryn’s talent matches such high standards. We also considered “The Killing” and “True Detective,” but among the recent projects, “Mare” stands out as a peak of excellence. It guided us significantly in developing the character of “Agnes of Westview.” The influence of “Mare” is pervasive; some shows captivate audiences only to lose their appeal over time, but “Mare” continues to be a topic of conversation, and I believe it will endure as a timeless classic.
It’s been a while since I last pondered over “The Killing.” The thought-provoking slogan, “Who murdered Rosie Larsen?”, is one that will forever linger in my mind.
Absolutely, not to mention the influence of “Twin Peaks” in our writing room since one of our writers is a fan. But I’m thrilled that people have picked up on the joke about “Agnes of Westview,” which was inspired by a Danish series, specifically “The Killing.” When penning the pilot, it felt like the comedic detective parody show “Murderville” was everywhere, given its popularity and its exaggerated portrayal of genre tropes. It truly captured the spirit of the times.
Did you forgive me for inquiring if Evan Peters’ character Ralph B. was at one point considered to play the role of Mare of Easttown that Evan himself portrayed? (Schaeffer had jokingly remarked, “Now I wish I could reshoot the pilot.”)
There’s no need for forgiveness. I always enjoy the chance to contemplate about the terrific individual, Evan Peters.
In your previous work, you helmed three episodes on “Agatha All Along,” including the series premiere featuring “Agnes of Westview” and her magical tale. Given that you sat in the director’s chair before, is it necessary for you to do so again if you are to lead another Marvel series?
Absolutely, that’s correct. What I’ve always aspired for is direction, but I found more avenues as a writer than as a director. So when a project like [WandaVision] becomes successful and you find yourself with resources, the question arises: what will you do with these resources? One of the answers was investing in a comeback to directing. It’s incredibly fulfilling. There’s simply nothing quite like it. Writing a piece, bringing it to life as the director, and then overseeing it all the way through post-production – it’s the pinnacle of satisfaction.
As a huge fan, I’m curious if, after a 15-year break from directing, you sought advice from fellow directors to help you get back into the groove?
Absolutely, it had been quite some time since I last worked on a project like this, and I found solace in my close-knit team from the series “Agatha All Along”. My director of photography, Caleb Heymann, was one of the key individuals I relied upon. Given my lack of episodic directing experience, I felt confident hiring him due to his comfort with the situation. Furthermore, I had two assistant directors who were equally understanding and relaxed about my inexperience in large-scale directing. Having a supportive AD team was crucial, and their assistance was truly remarkable in this endeavor.
Initially, I consulted my peers, and some of those discussions got quite technical: “How many projects do you typically handle in a day?” At times, I’d find myself questioning, “Is it unusual that this workload seems excessive?” Often, I’d run these thoughts by a friend who would confirm, “Yes, that’s too much. You should ask for an extra day or find a way to reduce the work.” Primarily, my concerns revolved around, “Can I handle this?” The reassurance was always, “Yes, having an opinion as a director means you have plenty, so you’ll manage just fine.
We discussed how the excessive fan theories surrounding WandaVision impacted you and the steps taken to prevent a similar situation. For instance, was Joe Locke’s character, the Teen, intentionally created as a catalyst for fan theories? Or was he your means of encouraging fans to express themselves more freely?
In my opinion, the main goal of the design wasn’t just about creating a mystery or puzzle. While there were some theories about WandaVision that seemed to veer off course, there were many more theories that were intriguing, either because they turned out to be correct or because they were brilliant ideas that I wished I had thought of myself. The enjoyment and creativity in these mysteries significantly surpassed any unease about the storyline taking an unexpected turn. Therefore, rather than Teen being a reaction to the wild theories, I would argue that the creation of these mysteries was more about amplifying the enjoyment factor of the show. Additionally, these mysteries serve a purpose within the series itself, although it’s something you can only truly appreciate once you’ve watched the entire show. However, they are not just included for the sake of having a mystery.
During our discussion about WandaVision’s finale, you mentioned you weren’t particularly interested in Jenn Kale’s “agent of Mephisto” remark towards the teen. However, considering all the Mephisto theories circulating, it’s understandable why your feelings might have shifted at that particular point. Now, some writers can be resistant to fan service, so I was curious, did you find it necessary to delve into this aspect in any way?
I can’t really say I was persuaded. Instead, it was a discussion with executive producer Mary Livanos, Marvel’s head of streaming Brad Winderbaum, and Kevin Feige from Marvel Studios. However, the importance of this opportunity exceeds just me or the show we’re working on. It’s more about the grandeur of being part of the Marvel universe. I didn’t react or have any specific motive because the intense debate that often arises from comic book lore isn’t as captivating to me as the ongoing narrative in our series.
Many have speculated that Teen might be either Wanda’s or Agatha’s son. However, episode four appears to rule out the possibility of Agatha as his mother. But is it safe to believe her? Is it wise to do so?
Initially, she declares, “That child isn’t yours.” Now, let me address this intriguing statement. In the context of the story, I believe it revolves around the relationship between Agatha and Rio. At this juncture, their reunion seems unlikely, which is the crux of the matter. Despite their palpable chemistry and passion, something appears to be hindering them. That’s essentially what that scene suggests.
It’s been implied that Agatha and Rio, or Agathio, had a doomed romance in the past.
(Laughs.) I just read “Agathio” this morning! I was like, “Oh my goodness, wow!”
I hadn’t known that term was in use until now. Moving on, it seemed Rio disclosed the secret about ‘Teen’ right when Agatha was attempting a kiss. It leaves me wondering why Rio chose to disrupt such an intimate moment and cause further pain for Agatha?
Frankly, discussing this subject can be challenging due to its complexity and ongoing developments, yet I value your inquiry immensely and aim to address it as thoroughly as possible. To put it simply, Rio’s fascination with Agatha is multifaceted. In their initial encounter during the climactic battle at the end of 101, their interaction may appear playful with hair-pulling, scratching, and suggestive moments, but beneath the surface lies genuine suffering and longing.
Was Aubrey Plaza doing double duty based on her absence between one and four?
In essence, we understood that Rio was unique in our writers’ room and we had to carefully manage their interactions for dramatic effect, as it wasn’t a romantic comedy. We couldn’t have them together constantly because the plot wasn’t about two characters with adorable disagreements leading to romantic entanglements. Consequently, Rio wasn’t present all the time, and this setup was established before Aubrey’s availability came into play. However, we didn’t have her as frequently as it might have simplified things. Overall, I think these decisions were primarily driven by the storyline itself.
There’s much demand for “justice for Sharon,” yet equally, many are asking “where’s Rio?” Our role often involves restraint. It isn’t feasible to fulfill everyone’s every desire consistently. A touch of hardship and dissatisfaction in our journey keeps us motivated.
In episode three, when Agatha takes a sip of the wine, Sharon quickly exclaims, “Pray, pray. Wanda, I implore you, allow him to breathe.” Is this what she may have meant to say during the series premiere of WandaVision, as her husband struggled at dinner? Was Wanda’s magic preventing her from uttering those exact words back then?
I’ve rarely considered it this explicitly, but I can certainly agree. It seems like she’s drawing from her unconscious as she recalls that terrible incident, indeed.
In a similar vein, could you share some thoughts on why Lilia (Patti LuPone) has these outbursts?
Lilia’s character development and storyline progress at a more gradual pace compared to others. However, we can already tell that she’s quite quirky or unconventional.
Was there anyone among the residents of Westview Town from WandaVision whom you wished to revive, but were unable to do so due to certain circumstances?
It would have been enjoyable to devise a scenario where the characters from the commercials could reappear. They were outstanding, yet their world was distinct and apart from the main show. In my imagination reminiscent of “The Twilight Zone”, it didn’t seem fitting to extract those individuals from the commercial realm and incorporate them into the town. Nevertheless, I was thrilled that Westview returned, as they are all marvelous. They gathered at the Los Angeles premiere, creating an atmosphere akin to one large embrace. They truly are a unique company.
WandaVision seemed to have a close connection with the Marvel Cinematic Universe (MCU) films. It made references to Avengers: Age of Ultron and Captain America: Civil War, and it set up events for Doctor Strange in the Multiverse of Madness and a future film titled The Marvels. Was there less of this cross-referencing in this series, or did you manage to keep yourselves separated from the movies during production?
In “Agatha All Along,” we didn’t need to worry about fitting the character into pre-existing storylines since Agatha hadn’t been featured before in any of the main series. This gave us more creative freedom, as we didn’t have to retrofit her appearances to match established canon. Compared to shows like “WandaVision,” where Paul Bettany and Elizabeth Olsen had extensive backstories, Agatha was a fresh character with her own unique narrative. We wanted to highlight her individuality and develop her story more fully. Additionally, unlike “WandaVision,” which dealt with the burden of connecting to future series, “Agatha All Along” focused on integrating the character seamlessly into the existing narrative, both enriching our current tale and reinforcing the stories told previously. We didn’t have to dismantle or contradict anything that had already been established, making our work easier in this spin-off.
Interconnectivity is cool, but sometimes it’s nice to just enjoy a show on its own terms.
It didn’t occur to me initially just how beneficial interconnectivity is. Writers often possess vast imaginations, and when something can take any form, that can be overwhelming. However, when you’re told, “It must be this specific thing, but make it exceptional,” I find that quite liberating. When we first considered the Witches’ Road and its design, a lot of what was in the comics wasn’t feasible or desirable for our purposes. But then it seemed limitless, so the initial ideas about the road felt too unconstrained during our brainstorming sessions.
It seems like you’ve been consistently working on both the Marvel Cinematic Universe features (specifically, Black Widow and Captain Marvel) and two MCU series. Could it be that this busy schedule led to the postponement of Paul Bettany’s Vision Quest? Were you in need of a break?
Indeed, balancing between “Agatha All Along” and “Vision Quest” became quite challenging, and with a deep sense of regret, I had to acknowledge that it wasn’t feasible for me given my current commitments. However, I am eagerly anticipating that show! I’m a huge supporter of everyone involved in the production, particularly Paul.
To wrap it up, at which point in your previously released directorial projects did you experience the thrill of being a director once more?
It was the first day of filming, largely because the opening shots for that episode were unlike anything I’ve ever worked on before. I’ve never been involved with a moody drama or an atmospheric gritty production, and when we were planning our shots, I felt like they suited someone else better. On this particular day, we had the luck of having a delicate rain that created this stunning mist, but unfortunately, we didn’t have the means to enhance the texture to look as magnificent as it did naturally. If we had aimed for that level of perfection, we wouldn’t have been able to achieve it ourselves. Instead, it was a pleasant surprise – what I envisioned in my mind became even more beautiful, and yes, it was exhilarating.
***
Agatha All Along is currently streaming on Disney+.
Read More
Sorry. No data so far.
2024-10-08 03:56