The Scarlet Witch is more than just the MCU's next big bad. DoctorStrange
Many stories borrow from ancient myth and legend, retelling or reforming the stories of gods and monsters for new generations. Things like Disney’s Hercules or O Brother, Where Art Thou? have reminded the movie-going public again and again of the pervasive nature of myth, particularly those borrowed from the ancient Greeks.
By giving director Sam Raimi free rein to delve into horror — something he is, obviously, a master at — Marvel has also allowed him and screenwriter Michael Waldron to tackle themes of tragedy, something the studio has held off on in favor of plot twists and larger, more bombastic hero stories up til now.
Medea is promised a happy life, married to the great hero Jason, if she assists him in his quest to retrieve the Golden Fleece, similar to the life Wanda is promised when she sides with the Avengers in Age of Ultron.
“You, O my sons, I then in vain have nurtured / In vain have toiled, and, wasted with fatigue, suffered the pregnant matron's grievous throes. / On you, in my afflictions, many hopes / I founded erst: that ye with pious care / Would foster my old age, and on the bier / Extend me after death—much envied lot / Of mortals; but these pleasing anxious thoughts / Are vanished now; for, losing you, a life / Of bitterness and anguish shall I lead.
Even Wanda’s demise at the end of the film mirrors the endings typical of Greek tragedy. It isn’t some great hero — i.e., Strange — who finally gives Wanda the space to cope, but America, appropriately another woman who is also coming to terms with herself as she embraces her uncontrollable powers.
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