WandaVision

Essential, and it is the most formally ambitious thing Marvel has made. Watch Infinity War and Endgame first: the premise is unreadable without knowing what happened to Vision and what Wanda had to do about it.

The conceit is that each episode is a different decade of American sitcom, shot in the correct format: a 1950s three-camera black-and-white half-hour, a 1960s one with a laugh track, a 1970s family comedy, a glossy 2000s single-camera. The commitment is total, down to period-accurate lenses and in-fiction adverts that are each about a trauma.

What it is actually about is grief, and the series is unusually willing to say so. A woman who has lost everyone has built a town-sized delusion and trapped several thousand people inside it, and the show does not let her off: the residents are suffering, she knows, and she keeps going. The line Vision delivers about what grief is, in a flashback, is the best piece of writing in Marvel's television.

The ending is the standing complaint. After eight episodes of formal invention the finale resolves with two beams of energy in the sky, which is what the whole series had been avoiding. Elizabeth Olsen and Kathryn Hahn are both excellent, and the series sets up Agatha All Along and VisionQuest.