Issue link: https://digital.copcomm.com/i/1397791
27 F A L L Q 3 I S S U E C O V E R S T O R Y By Peter Tonguette N one of the picture editors on the Marvel Studios series "Wan- d a V i s i o n " a c t u a l l y w o r k e d on classic American sitcoms from the 1950s, '60s, '70s, or '80s. None have credits on "I Love Lucy," "The Dick Van D yke Show," " The Brady Bunch," or "Family Ties." Yet, in working on the P H O T O ( L E F T ) B Y M A R K E D W A R D S nine-episode series created by head w r i t e r a n d e x e c u t i v e p ro d u c e r Ja c Schaeffer, each of the editors got a taste of what it was like to edit those immor- tal situation comedies. An altogether unique entrant into the Marvel Cinematic Universe, "WandaVi- sion" deposits a pair of iconic characters — Wanda Maximoff, aka the Scarlet Witch (played by Elizabeth Olsen), and her significant other, the android Vision (Paul Bettany) — into a world that, depending on the episode, resembles homey sitcoms from the 1950s through the turn of the millennium. From cos- tume to set design to cinematography, Elizabeth Olsen and Paul Bettany in "WandaVision." Facing page: Picture editors Nona Khodai (clockwise), Michael A. Webber, Zene Baker, and Tim Roche. P H O T O : D I S N E Y