As a fan who has been following the Marvel universe for quite some time now, I must admit that watching “Agatha All Along” was like a breath of fresh air. The show felt intimate and personal, and it seemed as though we were peeking into the lives of these characters rather than just observing them from afar.
[This story contains major spoilers from Agatha All Along’s two-episode finale.]
Just like she did back in 2021 with “WandaVision”, Jac Schaeffer‘s newest Marvel series, “Agatha All Along”, has left viewers yearning for more of her enchanting narrative style.
In the two-episode finale directed by Gandja Monteiro, the trio consisting of Agatha (Kathryn Hahn), Jennifer Kale (Sasheer Zamata) and Billy Maximoff (Joe Locke) reached their destination along the Witches’ Road. However, they discovered that the magical realm was merely a creation stemming from Billy’s subconscious mind and his fascination with pop culture. Notably, Billy’s spell-infused dimension bore striking resemblance to “The Ballad of the Witches’ Road,” which had been penned by Agatha’s 6-year-old son, Nicky Scratch, in 1756. It was also the year that Death (Aubrey Plaza) took young Nicky’s life. Despite being prepared to fulfill Death’s recent request of Billy, Agatha made a sudden turn at the end, choosing instead to sacrifice herself for Billy’s sake.
Performing this action paved the way for Ghost Agatha, which was a place that Schaeffer and her writing team had planned since the beginning.
According to Schaeffer, “Point A in the series was freeing Agatha from Wanda’s enchantment, while point B was transforming her into Billy’s guiding spirit.” He continued that these were the key aspects the team was dedicated to, which meant there was no resistance to Agatha’s ‘kiss of death.’
In the ninth episode titled “Maiden Mother Crone,” Ghost Agatha and Billy embark on a journey to locate Billy’s brother, Tommy, who has taken over the body of a young boy who drowned recently. Yet, the showrunner can merely speculate about which Marvel franchise will pick up this narrative thread.
Schaeffer acknowledges that he doesn’t have the answers regarding how, when, or where Billy will locate Tommy. What is clear though, is that Agatha has become Billy’s spiritual guide now.
Out of the initial group of makeshift witches who set out on the Witches’ Road, only Zamata’s Jen is still alive among Agatha, Lillia (Patti LuPone), Alice (Ali Ahn) and Sharon (Debra Jo Rupp). Schaeffer acknowledges that the series doesn’t offer a particularly cheerful finale, but the alternative didn’t seem fitting. Given that Death is a character on the show, they chose to go with the truth instead.
Schaeffer chose not to use cameos as a means for providing satisfaction, contrary to popular speculation that Wanda (played by Elizabeth Olsen) would return in Agatha. Many believed her character could be revived based on the fact that a stand-in for her was used in the series premiere, and various characters discussed her destiny. However, Schaeffer felt it was important not to tarnish his main character or the series’ exploration of the finality of death by doing so.
Schaeffer explains that Wanda’s resurrection wasn’t an actual dialogue but rather a broader discussion encompassing casting, logistics, scheduling, finances, and other aspects. On a creative standpoint, he believes it wouldn’t be just to the character of Agatha as this is her story. Introducing Wanda back seemed like it would disrupt that narrative flow.
In a recent chat with THR, Schaeffer delved into the absence of a concluding sequence (or ‘coda’) despite penning multiple possibilities, and further touched upon her unclear destiny within the Marvel Cinematic Universe.
***
In simpler terms, when you were first describing this show to others, what was your brief overview or summary of its storyline?
The phrase I repeatedly used was “This show is like a charm.” This idea was what I yearned for the most, and it sparked the notion of the ballad. The concept was that the ballad serves as a charm to clear the path, but in reality, the ballad served as the catalyst for Billy’s subconscious to develop the charm that creates the path. It’s essentially a long-term trick born from a lullaby created by [Nicky Scratch], so you could say it’s a set of nested charms.
The frequent statement I made was, “Agatha is a liar.” This leads us to wonder, “What’s her real story?” I was confident that the climactic episode would unveil her true narrative.
It’s clear now why you didn’t have the characters Agathio or Agathario share a kiss in episode four; instead, you were saving it for Agatha’s sacrificial kiss of death in episode eight. How did Marvel executives respond when they learned that Agatha was going to meet her end?
In essence, we planned for Agatha to die because we intended her character to become a ghost, serving as Billy’s spirit guide. The main objectives were to free Agatha from Wanda’s spell (Point A) and transform her into a ghost (Point B). These goals guided the show’s creative direction, and there was little resistance to Agatha receiving the kiss of death, which symbolized the climax of the Marvel battle while also marking the culmination of her romantic relationship with Billy. This narrative choice felt fitting to all involved in the production process.
Did you appreciate the fact that your comic book story avoided excessive use of the trope where characters miraculously escape death, which is quite common in many stories today, including non-superhero narratives? Have you found this to be something that annoys you?
It’s not a pet peeve of mine. One of the things that’s really fun and special about comics, generally, is that these stories can go on for decades and decades. That is due, in large part, to people dying and coming back, and so there’s a soap opera quality to it that can be magnificent. But I really wanted to explore, in the scope of things, this small idea of Agatha having a son who died, something that simple and that human. And if we were going to do that, then we couldn’t play it fast and loose with all of the other deaths. The fact that we then brought Death on as a character, it felt like our job was to have a more honest exploration of death and how people meet their ends and the permanence of that. So it wasn’t me reacting to the landscape, but I did see it as an opportunity to do something unexpected. People are wired to expect a proper happy ending, and we did write that, but it felt disingenuous. So we went for the real.
I’m relieved that Wanda wasn’t reintroduced on this series, as it would have contradicted the show’s central theme about the permanence of death. However, characters did express doubts about Wanda’s outcome, leaving viewers in suspense about her potential return. So, how near were you to reviving Wanda?
The interaction wasn’t a genuine discussion, but rather a broader topic concerning casting, logistics, schedules, finances, and other aspects. On a creative note, it seemed unfair to the character of Agatha. After all, this is her story, and introducing Wanda back into the mix felt like it would disrupt that narrative. I have deep affection for Wanda, and I believe she plays a crucial role in the show by affecting events across this chapter. Naturally, we’ve also factored in her son, setting him up to have strong feelings towards Wanda and not readily accepting her return. I’m excited to see where that plotline unfolds within the Marvel Cinematic Universe (MCU).
Discovering that the Witches’ Road was actually Billy leaves me particularly saddened for Alice’s family. Reflecting on it now, her mother appears to have been consumed by an obsession to find a road that didn’t exist, believing it would lift the curse from her family. Is there anything else I might be missing in this situation?
From a different perspective, the truth in your statement remains undeniable. However, we could also interpret Lorna’s actions as a way of crafting a ballad that, driven by her subconscious affection for her daughter, turned into a safeguard for Alice. It’s all about the angle from which you view things. In essence, if we examine Agatha’s deeds, they undoubtedly brought destruction within Alice’s maternal lineage. Yet, it also paved the way for Alice to grasp her mother’s motivations and the depth of her love. It’s merely a matter of perspective.
In the heat of the game, the finale’s flashback took me completely by surprise – in a fantastic, unexpected way! I must admit, I’ve grown quite used to the pattern of flashbacks being dropped in the second-to-last episode. So, I couldn’t help but wonder: was there any discussion about when to unfold the 1750s tale?
I felt very strongly that it should go where it went. During post, I got some notes about trying it elsewhere, and while I did try it, it was one of the few times that I pushed back on a note. I’m really happy to take notes. It almost always leads to discovery and to a stronger holistic piece of work, but it was something that I felt really passionately about. I don’t love the final battles; I don’t love the climactic sequence. It’s not as much of interest to me as everything else, and so I gave 108 to [writer] Peter Cameron because he is good at that. So he wrote so many versions of that battle, and there’s a version where all these fossils, including Sparky’s [Billy and Tommy’s dog on WandaVision] skeleton, come out of the ground and get involved in the battle. It then became impossible when we committed to the practical aesthetic.
However, we labeled [episode eight] as a false conclusion due to my haste, and that was my oversight. Peter’s outstanding work, Gandja Monteiro’s exceptional direction, Isiah Donté Lee’s impressive cinematography, and Libby Cuenin’s brilliant editing transformed that episode into something extraordinary. Yet, the intention was to complete the major elements in the second-to-last episode, leaving the most intriguing aspects for the actual finale. Moreover, I did discuss the tendency of Game of Thrones to stage the climactic battle in the penultimate episode when advocating this approach.
In the ninth episode, I find myself in 1750, going through labor. As soon as I lay eyes on a spectral figure, I realize Death is here to claim Nicky’s life. But why does Death have the right to Nicky? Is it retribution for my actions during the Salem murders of 1693? This is a question that lingers in my mind…
As a gamer, I see death as an inevitable part of life, neutral in its role as it weaves through existence. I don’t dwell on the philosophical implications of when or how deaths occur. Instead, I find comfort in the idea that it might be predestined, yet not driven by Rio seeking revenge or retribution. In her essence, she mirrors nature, flowing with birth, death, and renewal.
Indeed, Death makes a reappearance for Nicky, who is six years old. In response, Agatha employs the “Ballad of the Witches’ Road,” a song they both composed, to deceive witches into giving up their lives and powers. This sequence ultimately leads to Agatha’s astonishment at discovering the Witches’ Road in her basement. Is this also hinting that modern-day Agatha was destined for such an outcome?
One of the intriguing plot points in the series that Rio/Death poses is whether Agatha Harkness might ultimately meet her demise. We had always envisioned her character’s end, which would involve becoming a ghost on the show, but the specific circumstances surrounding it were left to be discovered. So while I wouldn’t phrase it as “she had it coming,” we craft a deeply emotional scene where we witness Agatha’s profound love for her son, only to have him pass away. Stricken with grief, she finds herself in a moment of raw authenticity, but this is abruptly disrupted by an opportunity for deceit. This deception offers her a chance to escape her sorrow and find a means to move on. She sees a way to switch gears and avoid dwelling on her feelings. Using the song, she can satisfy her hunger, yet she’ll never truly feel content. But by choosing this path, she won’t have to shed tears for her departed son.
Does the finale imply that Ghost Agatha and Billy are searching for Tommy, setting up for another season of Agatha or perhaps a different series titled “Vision Quest”?
Regarding the matter at hand, it’s unclear how or when Billy intends to locate Tommy, since he doesn’t have the answers for where or when that might happen. However, what is known is that Agatha has become Billy’s spirit guide.
Did the film’s ending leave you wanting more, or was it satisfying enough without an additional teaser during the credits? Was adding a credit scene a redundant extra touch?
Initially, I penned several tags as I’m accustomed to doing so, and I genuinely enjoy crafting them. However, due to factors such as casting, budget, and similar issues, they couldn’t practically be implemented. In the end, Marvel made the choice not to include a tag in the final cut. Consequently, the last scene we filmed serves as the culmination of this season, this series, and its conclusion.
Is that vision of the drowning boy actually Tommy’s new body? Is that a done deal?
Our plan is clear. As you pass on these assets, there’s always uncertainty about their future direction, potential changes, or revisions, but for the sake of this section, this is our perspective.
One memorable scene throughout the whole series occurs when Rio rips open the illusion of Billy’s make-believe world in order to advance. Was this concept born out of the necessity for functional set designs?
Indeed. Until this point, we’ve been unable to discuss the true creative rationale behind our adoption of a pragmatic method. This is due to Billy Maximoff, the baby witch, casting a hex, and lacking the capability to construct a genuine Witches’ Road spanning thousands of miles with real trees. Instead, he had to rely on painted backdrops, forced perspective, and artificial soundscapes. There are no actual animals or frogs along the road – it’s all illusion. This youngster has a passion for movies, horror, and pop culture. In essence, in our minds, he constructed stages, and he could manipulate them instantly. Thus, what they see from afar is a miniature scene, but when they approach, it transforms into a house they can enter.
In the heat of our game, when Rio sliced through the backdrop with her virtual knife, it was like we were underscoring a concept. I’ve noticed diverse perspectives on this action across the web, but for us, it was all about evoking the distinctive WandaVision vibe – that sudden, jarring cut hinting at the artificiality of the scene.
In my analysis of WandaVision, I often connect the subconscious influence of the Titanic to the scene where Wanda tucks in her children as the hex collapses. I was pleased that episode eight revisited this auditory atmosphere reminiscent of the Titanic. Additionally, I wanted to point out an interesting detail – you cleverly turned Agatha into a passenger on the real-life Titanic.
Indeed, during a session in one of our rooms, everyone brought a historical list of Agathas. One of them, the Agatha from the Titanic, seems to be the one I’m referring to now. It was quite intriguing to speculate where this Agatha might have been before her encounter in WandaVision. Quite amusing, isn’t it?
I found Agatha’s line, “Don’t steal her struggle,” particularly compelling when she advised Billy not to assist in freeing Jen. This moment then served as an outstanding demonstration of Sasheer Zamata’s acting skills as Jen reclaimed her power. Was it significant that someone had a positive conclusion, relatively speaking?
In my opinion, it was crucial for someone to make it through the ordeal, and we were particularly pleased that it turned out to be Jen. We believed she had the most development and growth ahead of her among Alice, Lilia, and Jen. Although all three characters seem disconnected from their strength, Jen’s actions have been detrimental to herself. She has strayed so far from her original role as a healer, midwife, and root worker. Consequently, we thought she had the longest journey to complete, and it would be incredibly fulfilling to witness her liberated and soaring into the sunset. However, this resolution doesn’t feel like a happy ending to me; rather, it feels like a cathartic release. It seems like relief, and I find it exceptionally beautiful. Sasheer delivers an extraordinary performance on this show, and that scene feels like a particularly moving sigh of relief to me.
Will there be an opportunity to view the unedited versions of Teen’s biographical answers, particularly from episode two’s car ride, as the sixth episode was the first glimpse we had into Agatha’s house?
His monologue in the car was Joe [Locke] improvising, which was great. He was so cute, and it was really fun. He talked about his notion of his life as William Kaplan. So he talked about his parents, Rebecca and Jeff [Kaplan], and it was quite sweet. It must have been a little bit of Joe’s own biographical work in the Kaplan history of Billy. So we might see that, but I’m not sure.
Originally, Marvel’s initial series closely followed their movie production methods. However, they later shifted to a more conventional television production style, introducing titles such as “showrunner” instead of the earlier used “head writer”.
(Schaeffer smiles)
Did that reshuffling make a pretty big difference on this go-round?
Frankly, it felt more like serendipity than planning for me and the team during the production of both WandaVision and Agatha: House of Harkness. We seemed to have a bit more creative freedom as we weren’t overly tied to the broader, grand narrative arcs. There were specific Marvel-mandated constraints, such as not including an ending tag for one episode, but overall, I felt like I was deeply engrossed in my work without being heavily influenced by the larger storylines.
For the past six to seven years, your life has been immersed in the Marvel universe, not just limited to your successful shows. You also played a part in writing ‘Captain Marvel’ and ‘Black Widow’. Given this extensive involvement, one might wonder if there is still room for more Marvel projects in your future?
I’m uncertain about what lies ahead in this part of the Marvel Cinematic Universe, but I’m thrilled to find out! I have a deep affection for the individuals who contribute here, and their narratives hold my interest. However, I also want to experience it as a spectator. So, I guess you could say I’m eagerly waiting to see what unfolds on screen. In other words, I don’t know yet, but I can’t wait!
Following your impressive performance in episode seven, it’s likely that many of us are hoping to witness you guide the WandaVision and Agatha characters through a feature film.
(Laughs) It’s very nice of you to say that. That episode was really a labor of love.
In years to come, when you’re sharing memories by the comforting glow of a roaring fire, which episode from “Agatha All Along” do you think will be the one that springs to mind first?
In episode two, when the actors performed the haunting ballad, it was incredibly moving. What truly stands out to me is the moment I directed this ensemble, which included the esteemed Patti LuPone, as they sang live. And let me tell you, we were all enchantresses on that day.
***
Agatha All Along is now streaming on Disney+.
Read More
Sorry. No data so far.
2024-11-04 23:26