Regardless of the mechanics of Wanda’s transformation, Marvel nonetheless casts a murderous mommy as its main villain, a depiction of wicked motherhood endemic to the horror genre and one with even more import given the growing trend of criminalizing motherhood in the US. In her quest to reunite with Billy and Tommy-the children she created in the bubble universe of Westview, a world where she still has her partner, Vision-Wanda is now willing to kill hundreds, a fair exchange to return to the reality she “deserves.” This murderous transformation is explained in the film by the Darkhold, a grimoire which bestows powers but that also “corrupts everything and everyone that it touches,” a corruption the audience is meant to assume has driven Wanda from suburban mom to homicidal witch. Despite the deeply felt and nuanced critique of grief, abandonment and complex trauma offered by WandaVision -a show that explored the “ethical loneliness” (Stauffer 2018) that occurs when one’s grief and loss are ignored or diminished, when society and culture refuses to properly bear witness to both collective and individual suffering- Multiverse essentially abandons Wanda’s complexity, reducing her simply to the pathos of anger, a mother without her children willing to sacrifice everything to get them back. But perhaps the most obvious, and most problematic, horror trope that Multiverse relies upon is that of the vengeful, destructive mother made manifest in Wanda Maximoff, now Scarlet Witch. Strange during the penultimate fight scene (a callback to the Zombies episode of What If), to Rachel fighting off an army of demons, to the slaughter of several key superheroes in the Multiversal franchise.
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Raimi’s horror sensibilities are on full display in Multiverse-from a zombified version of Dr. The film is directed by Sam Raimi, who made his name in the superhero genre with Tobey MacGuire’s Spiderman, but has been cutting his teeth on horror since the 80s with films like Evil Dead (look out for a cameo of Bruce Campbell/Ash), Drag Me to Hell, and American adaptations of Japanese horror classics like The Grudge.
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Doctor Strange and the Multiverse of Madness is essentially a horror movie with the trappings of Marvel’s characteristic action sequences.
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