Why Agatha All Along is Marvel’s Most Fun, Frenzied Ride Yet

The payoff is clear in this nine-episode series, a whimsical adventure that draws its quirky energy from Kathryn Hahn’s bold, offbeat performance. (Critics were given the first four episodes to preview). Lately, Marvel has found itself in a bit of a creative and financial rut, with audiences growing weary of the seemingly endless stream of interconnected content that starts to feel repetitive. But Agatha All Along, created by WandaVision showrunner Jac Schaeffer, manages to stand apart with its own unique tone and style. Unlike many of its predecessors, you don’t need a deep knowledge of Marvel’s intricate lore to enjoy the ride. The key takeaway? Agatha has been left powerless, her memory wiped, and she’s stuck in the seemingly perfect suburb of Westview following the events of WandaVision. As for other Marvel-specific references, like the Darkhold, they’re not essential to the story. Here, it’s less about chasing artifacts or grand MacGuffins and more about the fun in the journey itself.

The heart of Agatha All Along isn’t about world-saving stakes or complex moral dilemmas. Instead, it’s about crafting a playground big enough to contain Kathryn Hahn’s delightfully selfish and unapologetically domineering Agatha—a character who has no interest in being a hero or wrestling with larger-than-life, often empty, threats. Agatha's goal is simple, and if the MCU’s witchcraft lore feels a bit thrown together or glossed over, that’s intentional. It’s secondary to the real objective: assembling a cast and creating moments that match the electric energy Hahn brings to the screen.

Throughout her career, Hahn has expertly balanced comedic supporting roles (Step Brothers, Bad Moms) with more nuanced, heartfelt leads (Mrs. Fletcher, Tiny Beautiful Things). But with Agatha, her eccentric, wild side finally takes center stage. The series premiere might start slow—it’s essentially a quick recap of WandaVision, where Agatha, trapped in a magical illusion, plays the role of a no-nonsense small-town cop named Agnes. But the audience already knows better. We know she’s no ordinary small-town detective, and that tension is part of the fun. The show playfully pulls at the seams of this manufactured reality, like when "Agnes" kicks a suspect right out of his interrogation chair or when Aubrey Plaza shows up, oozing playful tension with lines like, “If you want to be in control, you can be.”

By the end of the episode, Agatha is back, stomping stark naked across her lawn, fuming with righteous anger—even if her magic is still missing, her fiery attitude has fully returned. Watching her reclaim that energy promises plenty of fun to come.

The second episode is where the real groundwork is laid, making sense of Disney’s choice to release both installments at once before moving to a weekly format. Not only is Agatha powerless, but she’s also being hunted by mysterious enemies, including Aubrey Plaza’s character, who—surprise!—isn’t actually the FBI agent Agatha’s scrambled mind believes her to be. Plaza’s true form is far more dangerous, dagger in hand. To survive, Agatha pulls off a clever move: she assembles a coven and sets off on the Witches’ Road, a legendary path that grants those who make it through their deepest desire. Conveniently, her pursuers can’t follow her there.

The coven Agatha gathers is a fantastic ensemble of TV actresses, all over 35, with some serious star power. Broadway icon Patti LuPone takes on the role of Lilia, a quirky clairvoyant prone to sudden bursts of prophetic vision. SNL alum Sasheer Zamata channels her inner wellness guru as Jennifer Kale, a crystal-wielding, potion-making witch. Debra Jo Rupp, reprising her role from WandaVision, plays the ever-clueless neighbor roped into a role she doesn’t fully understand but goes along with anyway. Each of the witches is linked to a natural element and a specific kind of magic, like Ali Ahn’s Alice, a “protection witch.”

But, as with much of the show, it’s less about the specifics of the magic and more about the joy of seeing these talented women together—especially when Patti LuPone and the coven break into song. It might not be as catchy as the Agatha All Along theme, but there’s a beautiful ballad that not only ties into the plot but also provides the titles for each episode, adding a lovely emotional layer to the series.

Agatha All Along brings a refreshing sense of humor, setting it apart from the MCU’s usual quippy, Joss Whedon-inspired banter. The first stop on the Witches’ Road is a perfect example: a dreamy Nancy Meyers-esque fantasy that quickly morphs into a wine-soaked, tastefully decorated house of horrors. When a sinkhole starts pulling Debra Jo Rupp’s handbag into the abyss, she snaps, “This is from Talbot’s, and you can’t have it!” The vibe is playful, referential, and leans heavily into camp—more self-aware and, frankly, more queer than most other Marvel projects. The chemistry between Hahn and Plaza is anything but platonic, and the show doesn’t shy away from that subtext.

Agatha even picks up a devoted fan in the form of a “devotee,” played by Joe Locke, who follows her throughout the journey. His character, known simply as "Teen" due to a curse that hides his true identity, is a delightful nod to Hahn’s own real-life fan base. Even when the show’s story mechanics get a little fuzzy, it’s never short on entertainment. The coven’s journey along the Road is full of fun, with each stop meticulously designed—after the posh beach house comes a ‘70s recording studio, straight out of Daisy Jones & the Six.

What makes Agatha All Along stand out is that it doesn’t feel weighed down by the MCU’s overarching, multi-year narrative plans. Instead, it thrives on its own creative freedom, relishing in its characters, style, and campy charm. Even without her powers fully restored, Agatha still has plenty of magic left to cast, making this series a unique and thoroughly enjoyable departure from the usual Marvel fare.