Sam Raimi’s horror-infused Marvel sequel became the MCU’s darkest film, introducing the multiverse concept to mainstream audiences and making Scarlet Witch a tragic villain.

Horror Director Returns

Doctor Strange in the Multiverse of Madness premiered in May 2022, marking Sam Raimi’s (Evil Dead, original Spider-Man trilogy) return to superhero filmmaking. The film was the MCU’s first to embrace horror aesthetics, featuring jump scares, body horror, and darker tone.

The film earned $955.8 million globally despite mixed reviews, demonstrating Marvel’s brand strength could carry genre experimentation.

Wanda’s Villain Turn

The film positioned Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) as the primary antagonist, following her grief-driven arc in WandaVision. Her quest to reunite with her children across the multiverse created a sympathetic yet terrifying villain.

The scene of Wanda violently dispatching the Illuminati (including a shocking Captain Carter and Reed Richards deaths) became one of the MCU’s most brutal sequences.

Multiverse Chaos

The film explored multiple universes, including a reality where Doctor Strange became corrupted and a paint-universe animated sequence. While visually creative, critics noted the multiverse concept felt underexplored compared to No Way Home’s emotional depth.

America Chavez Introduction

The film introduced America Chavez (Xochitl Gomez), a multiversal teenager with reality-hopping powers, setting up future MCU storylines. Her LGBTQ+ identity (from comics) was downplayed in the film, sparking criticism about Disney’s handling of queer representation.

Musical Notes Fight

The climactic battle featuring an enchanted Book of Vishanti and musical notes as weapons showcased Raimi’s playful visual creativity, becoming a divisive but memorable sequence.

Post-WandaVision Tie-In

The film served as a semi-sequel to Disney+ series WandaVision and Loki, requiring streaming homework that frustrated some theatrical audiences.

References: Box Office Mojo, Marvel Studios, Variety, The Hollywood Reporter