Very early in her WandaVision spinoff series, Agatha Harkness (Kathryn Hahn) starts to suspect that her world may be more restricted than it appears. Sure, her hometown seems normal enough on the surface, though it does resemble a Mare of Easttown knockoff. But more and more, she feels there's a larger truth she’s missing.
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| Kathryn Hahn in 'Agatha All Along.' Photo by Chuck Zlotnick. © 2024 MARVEL. |
She's right, of course. By the midpoint of the premiere, Agatha discovers she’s trapped in a magical illusion that grants her the feeling of freedom while actually confining her within tight boundaries.
This is, in some ways, similar to the experience of watching a new Marvel project. As a standalone entity, Disney+’s Agatha All Along (or at least the four 40-minute episodes sent to critics) has the potential to be an enjoyable new adventure, featuring a lovable cast and playful vibe, but with ample room for growth.
However, erratic pacing and constant surprises make it feel more like an exercise in brand extension than a fully captivating adventure.
Like its predecessor, Agatha All Along is helmed by Jac Schaeffer, who once again uses pop culture tropes to drive the story. However, the murder mystery-style introduction turns out to be a bit misleading.
The series instead pulls from the long history of TV and movie witches, beginning with a quest akin to the Yellow Brick Road: having lost her powers in the WandaVision finale, Agatha realizes she must travel a metaphysical path called the Witch’s Road to regain them. Because the rules of magic (and entertaining TV) prevent her from embarking on this journey alone, she reluctantly gathers a coven.
The strongest element of Agatha All Along is its cast. Hahn is a sardonic delight as Agatha, easily shifting between grim and mischievous, sarcastic and sincere. Agatha may technically be a villain, but it’s hard to dislike someone who responds to another witch complaining about their reputation for poisoning apples and stealing babies with the deadpan quip, “Babies are delicious.” As her fanboy-familiar-sidekick Teen (played by Heartstopper’s Joe Locke) puts it: “Name a badder bitch.”
Hahn shares sparkling chemistry with her co-stars, particularly her rival Rio, portrayed by Aubrey Plaza in one of her signature roles as a quirky yet oddly captivating character. And while the buzz about Agatha All Along being Marvel’s “gayest” show yet has been heard before, there’s certainly an undeniable sexual tension in their scenes that promises more in the episodes to come.
Agatha’s skeptical team also includes the iconic Patti LuPone, clearly enjoying herself as a bohemian witch you might encounter under a strip-mall “PSYCHIC” sign; Sasheer Zamata as a modern potion maker selling jade eggs and organic skincare; and Ali Ahn, who brings a Hot Topic vibe to the group, even though she’s really a former cop and the daughter of a cursed musician.
There’s also Sharon (Debra Jo Rupp, reprising her WandaVision role), who may not be a witch but fits the nosy neighbor archetype that Agatha once played herself.
With such a stellar cast, it’s a joy to simply be in their company. Their mutual disdain for Agatha, for seemingly good reasons, only adds to the fun. I could easily watch these women trade barbs while begrudgingly working together to tackle whatever magical challenge awaits them each week.
And in a way, that’s what this show is. Though the Witch’s Road appears as a CGI forest trail, it’s really a series of trials, each tailored to a different witch and their specific aesthetic.
One trial adopts a Nancy Meyers vibe, placing the characters in a cozy seaside cottage, dressed in neutral knitwear, as they try to counter the effects of a strange poison. Another takes them to a ’70s rock star mansion, complete with musical instruments and glittery outfits, where they must engage in a supernatural jam session.
The logic behind each setting isn’t always clear, but they serve as fun excuses for the costume and production teams to shine.
It’s the storytelling that can be inconsistent. By Marvel standards, Agatha All Along is refreshingly light on lore, Easter eggs, or multiverse references. There are some — for instance, it would be nice if Teen’s possible future as a Young Avenger didn’t overshadow the question of who he is and what he means to Agatha. But overall, the show avoids feeling like a setup for other Marvel projects.
Unfortunately, it also struggles to justify its existence beyond being an extension of a successful IP. While it has potential, the character-driven dramedy it could become feels held back by the need to push the plot forward quickly and the awareness that Agatha must remain the focal point.
As a result, the supporting characters’ backstories are rushed, lore details are glossed over, and flashy moments are prioritized over thoughtful world-building. The show loves a musical number and even delivers a catchy portal-opening ballad, courtesy of Robert Lopez and Kristen Anderson-Lopez. But Agatha All Along lacks the patience and depth it needs to fully bring its story to life.
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