Agatha All Along

Jared Mobarak started his review by admitting, “I wasn’t sure what to expect from AGATHA ALL ALONG since I was pretty lukewarm on WANDAVISION while so many others loved it. I thought that series started off strong before discovering it didn’t really have anywhere to go. Not because the grief angle wasn’t good, but because it lost its visual and cinematic intrigue the moment the veil was pierced. What felt fresh and unique suddenly devolved into the same old explosive MCU nonsense sans true emotional stakes (until the theatrics finally finished to allow the characters to feel them).”

Creator Jac Schaeffer must have felt the same because she’s fixed this mistake. Rather than give up halfway through, she hides that there’s a game being played. Not completely, obviously. This is about Agatha Harkness, reprised by Kathryn Hahn. There is something going on. This question is whether another game is being played. If so, what is in control. Because we know from the first time the “Witches’ Road” is said that something is going on. Agatha being the only one who knows how to get there and the only one to survive just seems too convenient. Everywhere are lies.

Mobarak said, “As a result, we’re forced to take it all at face value with skepticism. We’re forced to assume what we’re seeing is real. The actions are the cause of chaos and drama, not the machine itself.” Rather than give one-woman complete power (Wanda), Schaeffer gives the entire cast equal amount. Yes, they all don’t grieve the death of a loved one, but they do all grieve. The past. Lost power. Declining purpose. Agency. That’s what the road is about. It’s a series of trials that are magic filled into existence so those who survive can earn their wish. However, unlike Wanda, the only people who are at risk here are the ones traveling the road.

Mobarak noted, “That’s what I really loved about the show because it inherently means that earning their wish won’t always be accomplished via a happily ever after. The road doesn’t just give through addition. It also heals through subtraction. It supplies the opportunity to prove who these witches are by ensuring they learn what they seek was never truly gone. You live that long with the easy button and you forget power isn’t found in magic alone.” They might ridicule when “Teen,” played by Joe Locke (who is something that won’t let the witches know who he really is because of his sigil) thinks “analog magic,” but getting back to their roots is exactly what’s needed.

He's the entry – even after discovering who he is changes everything. Agatha is the villain even though she is the anti-hero protagonist. The latter is important because we do need to respect that she’s a murderer. This show isn’t about recovery from her, it’s about understanding how evil she is. Yes, she isn’t as intentionally bad as Rio, played by Audrey Plaza, but the sarcasm and rebound only hide the fact she will kill whoever she must to get her “purple” back. Mobarak said, “The maternalism she shows “Teen” is thus drawn to be as potentially authentic as it is presumably a trick. Rumor does say she traded her own son for the Darkhold.”

Hahn is unsurprisingly great in the role and her banter with Locke carries the series by walking the line between cooperative and dependent. Mobarak admitted, “That said, though, I’d be lying if I didn’t say the supporting cast really steals this thing.” While Agatha and “Teen’s” story go on for the nine episodes, Jen (Sasheer Zamata), Lilia (Patti LuPone), and Alice (Ali Ahn) are given must more time and limited revelations. LuPone is at her best with the episode “Death’s Hand in Mine” proving the explicit highlight in writing, structure, emotion, and stakes. Debra Jo Rupp is in a smaller comic relief role and it’s impossible not to be taken by this temporary coven.

Mobarak compared, “It leans heavily on the main WIZARD OF OZ trope that filters through a ton of media (shades of LABYRINTH and even THE USUAL SUSPECTS populate the climactic reveal as a result) for good reason considering the physical journey we see is also a psychological battle for each respective participant. The special effects work is solid, the “Witches’ Road” song is perhaps the first Kristen Anderson-Lopez and Robert Lopez piece that I actually like, and the humor is on point from the opening “credits” (based on the Danish series Wandavisdysen).” Despite this finally ending like most MCU stuff with a look of what’s next, “Agatha All Along,” released in September, effectively accomplishes its own mysteries with definitive resolution too.

I really liked the show because it did something it’s not known for and did a good job on. This is one of MCU’s darker stuff and it was very well done, despite them being famous for their lighter and more comical material. The production value was great, it was funny, and the cast, especially Hahn, Locke, LuPone, Plaza, were really good in their roles. If anyone is into the more dark, gritty take on Marvel, check this out if you have a Disney+. You will get into this show; I can assure you that.

Alright everyone, look out tomorrow where I will look at the latest sequel in the finale to “Disney Month 2024.”