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29 F A L L Q 3 I S S U E would be of how to cut it." Soon enough, Webber, who shared co-editing duties with Baker on the series finale, realized that the material was telling the crew to slow down. "You actually just have to let this play out in a two-shot and let it go for a while," Webber said. "And then you maybe punch in for the joke and then pull back out again." (Baker also edited Episodes 2 and 6.) As Wanda and Vision's television lim- bo advances in time, the specific sitcoms referenced — and editorial styles used — changed. In contrast with the two-shots and three-shots preferred in the earliest episodes, by the time the series was referencing "The Brady Bunch," close- ups enter the picture. "If you look back, they did a little bit more of the cutting back and forth, more so than the earlier sitcoms," said Khodai, who noted that, by the time of "Family Ties," wider angles were back in fashion. "When you go into the '80s, they actually stayed more wide," she said. "With 'Family Ties,' they would stay in the family shots that everyone was in." Ye t t h e e d i t o r s w a n t e d t o a v o i d becoming too precious about imitating vintage sitcom styles, especially when the larger Marvel Cinematic Universe, or MCU, begins to intrude on Wanda and Vision. Webber emphasized a need for cohesion between sitcom scenes and MCU material. "You'd have to sit there and figure out a way where both would feel real within the realm of the entire C O V E R S T O R Y 'You'd have to figure out how to make both the old sitcoms and the Marvel universe feel real.' episode," he said. Scene-swapping was sometimes nec- essary. "Sometimes, if you put two scenes together that were from MCU and sitcom, they just didn't work together," added Roche, who would sometimes insert a faux commercial break to give the audi- ence a breather between the two worlds. "Sometimes bumping up against an MCU scene didn't always work particularly well, so we had to find creative ways to make all that mesh." Postproduction on "WandaVision" began in November 2019, when the show was being shot in Atlanta, Georgia. When the coronavirus pandemic began a few months later, production halted for a period of time before resuming in Los Angeles, but Marvel Studios' long-sim- mering plans for remote work in post suddenly took on a new urgency. "There was the idea at some point at Marvel that there would be remote systems maybe a year and a half from now," Roche said. "Then they just had to expedite that in four weeks. We were as beta-tested as you can get in terms of: 'Let's try this platform; let's try these devices." Although there were technical hic- cups in syncing each editors' at-home Michael A. Webber. P H O T O : M A R K E D W A R D S