Why We Love Teyonah Parris As Monica Rambeau
Parris is easily our favorite character in the Marvel drama series WandaVision
We’re only five episodes into Marvel’s newest miniseries
WandaVision, and the studio has proven once again that we’ll always be looped into their Cinematic Universe.
If you haven’t already been streaming
WandaVision, picture a 1950s sitcom centered around the mysterious superhero Wanda Maximoff and the comical android Vision, but darker. The series stars Elizabeth Olsen as Wanda and Paul Bettany as Vision, but we’ve got our eyes on Teyonah Parris’ charismatic character, Monica Rambeau. Rambeau is the now-adult daughter of Maria Rambeau, who was introduced in
WandaVision Showrunner Jac Schaeffer Addresses Possible Wonder Man Appearance
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WandaVision showrunner Jac Schaeffer is letting Marvel fans wonder about Wonder Man. After Marvel Comics readers spotted Wonder Man in the background of a behind-the-scenes video for the Marvel Studios series, an Easter egg for his supervillain brother appeared in the opening credits of
WandaVision Episode 2, Don t Touch That Dial. Because Wonder Man is Vision s brother in the Marvel comic books the superhero s brain patterns gave the synthezoid his intelligence the question becomes:
Will Wonder Man enter the Marvel Cinematic Universe in WandaVision?
Asked by
The Playlist to explain the Wonder Man art in the
CinemaBlend
It was a phrase uttered multiple times during the second episode of Marvel Studiosâ
WandaVision, an episode we now know is titled âDonât Touch That Dial.â The phrase was âFor the children,â and it was mentioned in regards to the talent show that the neighborhood folks were staging, and then chanted in unison by all of the folks gathered during the show. It was creepy. And like everything else on the show, it seemed to mean something. So when we spoke with
WandaVision co-star Emma Caulfield about it, her answer went in-depth. You can hear it above.
Part of the reason why I find the phrase âFor the childrenâ to be so interesting is that up until the end of episode three of
I clearly remember the first time I saw
The Prisoner episode, “Living In Harmony.” The classic, world-building intro is gone and the story immediately begins with star Patrick McGoohan, dressed like a cowboy, riding a horse somewhere in the American West. I was intrigued, then increasingly frustrated, as it seemed liked the narrative would never return to what I’d expected. Indeed, all the standard trappings of the series The Village, the spy vs. spy plots were absent until the episode’s shocking climax, which remains one of my favorite moments in the entire series.
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“Living In Harmony” loomed large in my mind as I watched