VisionQuest Episode 8: Robert Downey Jr.’s cameo, Scarlet Witch’s return and the road to Avengers Doomsday

VisionQuest is the last Marvel Television project before the movie

Last updated:
Lakshana N Palat, Assistant Features Editor
Elizabeth Olsen as the Scarlet Witch.
Elizabeth Olsen as the Scarlet Witch.

Grief has always been the engine of the WandaVision trilogy. It built Westview, the sitcom suburb conjured by a woman who couldn’t let go. It gave Vision the line that became the series’ thesis: grief is love persevering. VisionQuest turned that idea inward, following a synthezoid who had to learn, slowly and painfully, how to mourn.

In the last 30 seconds of its finale, it reached outward. Robert Downey Jr.’s Doctor Doom lifted the rubble of Mount Wundagore off a woman Marvel had buried four years earlier. “Scarlet Witch, awaken,” he said. Her eyes opened.

Forever arrived on Disney+ on Tuesday, November. 10. At about 68 minutes, it was the season’s longest episode, and it ended with a family almost whole. Vision embraces his sons, Billy and Tommy, moments after Tommy asks whether they will ever see their mother again. The answer comes after the credits. Wanda Maximoff is alive, and Doom found her first.

Marvel even hid the clue in plain sight. Hours before the episode went live, it posted a message on X written entirely in binary. Decoded, it was Wanda's farewell line to Billy and Tommy from the WandaVision finale — the one about never truly leaving each other.

With Doomsday opening December 18, the timing is not an accident. VisionQuest is the last Marvel Television project before the movie, and its finale now works as the bridge between the WandaVision trilogy and the Multiverse Saga's endgame. Here is how it builds that bridge, plank by plank.

Before the stingers: what "Forever" actually does

The main episode is a self-contained ending. It pays off VisionQuest's mysteries, reunites a family, and deliberately leaves one seat at the table empty.

The Client unmasked. The man wearing James Spader's face is Virgil Horton, grandson of Phineas Horton and ex-husband of the woman whose mind became Jocasta. His plan: upload himself into Vision's body and use roughly 20 billion nanobots to control humanity. He had sold the couple's AI work to Stark Industries to buy back the Horton mansion.

Two deaths, one relapse. Once Tommy frees the captives, Virgil shoots Jocasta with adamantium bullets. Ultron builds a nanobot body and crushes Virgil; Jocasta dies in his arms, and a grieving Ultron turns the nanobot cloud toward London.

UltraVision. Unable to win a straight fight, Vision traps Ultron in a WandaVision-style sitcom simulation run by E.D.I.T.H. Ultron hijacks the show, but Vision talks him down by finally owning the father-son bond between them.

Billy comes home. Tommy recreates his near-drowning to reach his brother on the spirit plane, and Joe Locke's Billy returns. Their combined powers revive a drained Vision, and the episode ends on a family group hug — the twins, their father, no mother.

The setup line comes right before the credits. Tommy asks whether they will ever see Wanda again. Vision answers that they have said goodbye before, so perhaps they will say hello again. Showrunner Terry Matalas told THR he chose to reunite Vision with both sons but hold Wanda back. The credits are where that choice pays off.

The two stingers, beat by beat

Stinger one: Ultron keeps a backup. Ultron, very much alive after phoning Vision to say goodbye, is shown still holding the drive with Jocasta's source code — the clear implication being that he means to rebuild her. It is a thread for VisionQuest's own future more than for Doomsday.

Stinger two: Wundagore, extended. The scene replays the climax of Doctor Strange in the Multiverse of Madness (2022): Wanda brings Mount Wundagore down on herself, destroying every copy of the Darkhold across the multiverse. Then it keeps going with new footage.

  1. A massive rock lifts out of the rubble. The one moving it is Robert Downey Jr.'s Victor von Doom, in his first Disney+ appearance.

  2. He uncovers Wanda's body, eyes closed, and speaks: "Scarlet Witch, awaken. Your power will be mine."

  3. Her eyes snap open with a gasp, her face lit by Doom's green glow. Cut to black.

Two details matter. First, the scene picks up in the same moments as Multiverse of Madness's ending, so this is the MCU's own Wanda, not a variant pulled from another universe. Second, the scene lands seconds after Tommy asks if they will see their mother again. The show answers his question, just not the way he hoped.

Doom is collecting the Avengers

Wanda is the second Avenger Doom has personally picked up on screen, and the pattern between the two matters more than either scene alone. In both, he arrives when a hero is at their most broken, and he talks about taking, not asking.

The Hulk came first. In the Avengers: Endgame Encore re-release (September 25), a post-credits scene finds Bruce Banner hiding in a military bunker two miles underground after going Savage in Spider-Man: Brand New Day. Doom tracks him down and announces he has come to collect him. All that's left is a glowing green mark in the concrete. The Russos have since said Hulk is involved in Doom's story

Read together, Hulk and Scarlet Witch are the MCU's two most uncontrollable powers: one physical, one reality-bending.

Is the Scarlet Witch really on Doom's side?

Not on the evidence so far. The scene shows Doom reviving Wanda, not Wanda joining him — and his one line is about owning her power, which leaves open whether she fights beside him, gets aimed at the Avengers, or is simply drained. Three threads point to how "on his side" might actually look.

1. The comics already wrote this story. In Allen Heinberg's Avengers: The Children's Crusade, Billy and Tommy go looking for their missing mother and find her in Latveria as Doom's bride-to-be, with no memory of her old life. It takes the Avengers to break his hold on her, according to GamesRadar. VisionQuest has just put both sons back in play, in the same episode, which makes the parallel hard to ignore.

2. The Latverian Witches. At San Diego Comic-Con 2026, Marvel displayed costumes labeled "Latverian Witches" — robed figures who serve Doom and don't exist in the comics. Fans immediately suspected Wanda was under one of the hoods. Leaked promo art later showed four of them in green, orange, purple and brown, with Doctor Strange, Clea and Sylvie also floated as candidates. One counterpoint: none of the costumes is scarlet.

3. Grief is the lever. Wanda's MCU arc has always been driven by losing her family, and Doom's marketing paints him as a man shaped by loss. TVLine argues Doom could easily manipulate her by promising a world where she gets her children back. The irony: her sons and Vision are already reunited — she just doesn't know it.

So the honest answer is "seems," exactly as the stinger intends. The likeliest read is a captive or a controlled asset rather than a willing lieutenant — which would make Billy, Tommy and Vision the people best placed to pull her back.

What to carry into the theater on December 18

  • A family with a reason to fight. Vision, Billy and Tommy are together and openly hoping to see Wanda again. If she turns up under Doom's control, they are the emotional key to freeing her — the Children's Crusade beat, MCU-style.

  • Young Avengers energy. Billy and Tommy are now both active, powered and on screen together.

  • A rival AI wildcard. Ultron is free, grieving, and holding Jocasta's code. He promised Vision he wouldn't wipe out humanity, but he's a loose end with a motive.

  • Doom's shopping list. Hulk plus Scarlet Witch hints at a villain gathering raw power, not followers. Watch for who else he "collects" — and whether the Avengers he faces are partly his own prisoners.

  • The long game. Doomsday leads into Avengers: Secret Wars in 2027, where Doom's comic-book counterpart rebuilds reality from the wreckage of collapsing universes. A reality-warper in his pocket is exactly what that plan would need.

Lakshana N PalatAssistant Features Editor
Lakshana is an entertainment and lifestyle journalist with over a decade of experience. She covers a wide range of stories—from community and health to mental health and inspiring people features. A passionate K-pop enthusiast, she also enjoys exploring the cultural impact of music and fandoms through her writing.

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