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The Vision was one my favorite Marvel Comics characters as a child, up there with the Thing for his lovable oafishness and Galactus his inscrutable omnipotence; he had that awesome density-altering power, his origin lied in super-cool Ultron, and maybe, being synthetic or just red, his interracial marriage to the Scarlet Witch represented a chance for even me to find someone, too, as different as we seemed back then to the rest of our neighbors. (I’d always held to the belief that King Kong Escapes was the catalyst of possibilities, but rewatching it, I’m far more impressed by Mie Hama, if that means anything.)

By the time we were introduced to Data and his whole crew of misfits, that notion was past and I found myself rooting against him. The last straw may have been a stray comic depicting Wanda blissfully copulating with homewrecker Wonder Man. In space!

And as much as I wanted to appreciate Tom King’s contribution to the Vision mythos—I really liked what he said on that podcast about having the same number of pages to work with as Alan Moore but not being able to come up with as good a story as “For the Man Who Has Everything” on them—it didn’t feel like new ground, but this series even less so. Four straight weeks of 20-minute episodes of my-life-as-a-sitcom? Some dedicated fanbase Disney’s amassed.