For those bemoaning any plotholes or disappointing lack of payoff somewhere in the narrative, it's been asserted from a showrunner that there was a narrative that was cut from the finale for simplicity, clarity and tone. Won't say more because it's easy enough to find out, but some people might not want know a, what's this? an unspoiler? A spoiler for something that didn't happen.
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To me the ending feels more like the show was a casualty of COVID than anything. I understand some backstory stuff was cut with Monica and Hayword that resulted in Hayword looking like a generic "my shiny weapon!" villain lacking context, with Monica left to hand wave away basically every shitty thing Wanda did.

Also, the showrunners can eat a dick with the whole Dottie and Peter Evans casting. Simply doing it for the marketing, discussion, and the troll factor are just lame.
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I felt like the Evan Peters thing was nothing more than flexing on Fox.
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WandaVision’ EP & Head Scribe Jac Schaeffer On Scarlet Witch’s Grief & Who Didn’t Show Up In “The Series Finale

DEADLINE: So, as the title of the episode indicates, this is really ‘The Series Finale,” right?

JAC SCHAEFFER: It’s like what Mr. [Kevin] Feige says, “It wasn’t necessarily the plan to have another season, but in the Marvel world you never know.”

DEADLINE: Was this the ending you envisioned from the onset of the season, i.e., Wanda realizes that she is the Scarlet Witch, Vision and the sons disappear with the Hex, and she heads off to the wilderness? Or was there an alternative ending that the writers were toying with in any shape or form?

SCHAEFFER: Not really. This is essentially what we envisioned from the very beginning. This was always going to be a story about grief, and we took that seriously, and it’s a little bit reductive, but we used the stages of grief to map out the arc of the season, and we knew that we wanted to take it to a place of acceptance. It is acceptance in two ways, it’s ultimately Wanda’s acceptance of the mantle of the Scarlet Witch, and then secondly and perhaps more importantly it is acceptance of her grief and of the fact that she has to let Vision and the boys go. So, you know, things changed along the way and there were discoveries and enhancements and all the sort of ins and outs of the finale specifically was kind of ever-shifting, but the actual goodbye scene was written fairly early on and we were all united behind it.

DEADLINE: Tell us about setting up Wanda’s whole notion of grief.

SCHAEFFER: Her history in the comics is one of loss. That is something that in the comics and in the MCU has often defined her and defined her characterization. She’s been a more serious character and a character who at times seems locked into her own sadness and mourning, and so that is obviously where we wanted to start and what we wanted to build around. We saw an opportunity with the overlay of the sitcom to get to see Wanda and Lizzie trying on all these different colors, you know, seeing her be joyful and mischievous and flirty and all these different things. We could dig into all the different sides of this woman, but in the comics and in the MCU this woman has endured more loss than perhaps anyone, and that was the thing that we wanted to explore and work through with her.

DEADLINE: When you first pitched yourself for the job, how did you prepare for the meeting? Did you read House of M? Did you have this notion of mapping out the stages of grief? What did Marvel spark to and what was your angle?

SCHAEFFER: They sent me a bunch of the comics and I looked over them. I’m not a very good comic reader. I have a hard time digesting the storylines and I never know which cell to look at, and I don’t know, I’m a disappointment, perhaps, to the fandom in that way, but the imagery is always, of course, very startling and moving and inspiring, and it was Kevin Feige’s idea to marry Wanda and Vision to the sitcom world. So, I had those pieces to begin with, and then it was also their desire to explore her grief and that whatever happened in this series, this sitcom situation, was some sort of manifestation of her grief and her desire to live in this fantasy world.

What I brought was a structure for that. You know, having seen it in the comics, I thought that it would probably be fairly predictable if we told a linear story of, you know, Wanda is upset and she freaks out and she creates this false world and then it’s a sitcom. That didn’t seem interesting to me. It didn’t seem like an interesting watch. It felt a little kind of by the numbers and harder to dig into emotionally. So, I did pitch this idea that we start in this sitcom, and that we are with Wanda with not knowing what’s going on and that we plant red herrings and wonder if there’s some nefarious force that’s doing this to her, and that we’re with her in the discovery that it is her, you know? We start in denial with her and then we move into anger. It was part of my pitch that she can’t kick the Monica character out of the Hex, and that we move on from there, and that in the penultimate episode it would be her full discovery of the stages of her life and really how this happened, that she has to face that in order to move forward, and that’s really…you know, it’s sort of the idea that she has to go to the arsenal in order to have the weapons in order to vanquish the bad guy in the end. Well, in this case, it’s grief. So, she needed to look everything in its face in order to be armed with what she needed to triumph and heal at the end of the story.

DEADLINE: With the Hex lifted, what becomes of Agatha and Quicksilver? Do they disappear with it? All of the townspeople revert back to themselves. Can you tease anything?

SCHAEFFER: Well, as you can see in the episode, Wanda put Agnes/Agatha under a spell at the end. That makes her live out the character she created. So, as far as I know Agnes is hanging out baking some cookies in Westview, and then beyond that, I can only speak to my own series.

DEADLINE: What about Quicksilver? Might we see him again? Everyone loved the meta thing that Marvel did here by casting the actor from the Fox/Marvel version for the part.

SCHAEFFER: What I can say is that I think Evan Peters did an incredible job with this role and I found it to be such a joy to both work with him and watch him on screen, and you know, as a fan, I’m interested to see whatever he does next.

DEADLINE: He’s Ralph, Agnes’ husband, essentially.

SCHAEFFER: Yeah. The idea is that Agatha came to town and took over the neighbor’s house in order to sort of be undercover, and there happened to be a young man named Ralph Bohner who was already living in Westview. In the writers’ room, we enjoyed writing Agatha’s sense of humor, and so the idea that she would actually be talking about her hostage through the entirety of the series really tickled us.

DEADLINE: Why didn’t Mephisto make an appearance? There was a lot of speculation that Mephisto was going to be the ultimate villain in the end of the series.

SCHAEFFER: We didn’t think this series needed a big bad. I mean, the big bad is grief, you know, and that’s the story that we were telling, and then we got a bonus baddie in the form of Agatha Harkness who ended up facilitating Wanda’s therapy, so yeah, I think we feel pretty good about that.

DEADLINE: In the first end-credits sequence, Monica is told by the Skrull agent that “he” is in need of seeing her, up in space. Many believe “he” is Nick Fury. Care to comment?

SCHAEFFER: I am going to go no comment on that one because I have to go no comment. But I really appreciate how closely you’re watching and I appreciate all your theories.

DEADLINE: How do the post-credit sequences work? Do you write those on the fly? Or are those written out well in advance?

SCHAEFFER: Yes. I mean, on all the Marvel projects that I’ve had the good fortune of working on, the tags are the thing that are constantly evolving because it’s the connecting tissue with the next project, it’s the handoff, and sometimes they’re shot way late in the game. In this particular instance with the Skrull tags, strangely that was, like, one of the first tags that I wrote, and then it went through a bunch of iterations, and then we returned to that essential idea. It’s just they evolve during the creative process.

DEADLINE: Do all of the writers from the MCU Disney+ series and big-screen features get into one big weekly Marvel writers’ room? I.E., the writers behind Captain Marvel 2 and Doctor Strange 2, and bat around ideas to connect storylines? Or is Kevin Feige or one of the other producers running from room to room of each project and suggesting tidbits from an overlapping project which should be included in another?

SCHAEFFER: I can only speak to my own experiences at Marvel, and you know, from where I’m sitting, it’s been more organic than that. I haven’t been in a big room with a bunch of different writers on other projects. I’ve sat down with some other teams just to put the brains together and make sure everyone is looking at whatever the issue is in the same way and that everybody has the information that they need. Usually it’s obviously Kevin who has the masterplan and communicates what needs to be communicated. I’ve enjoyed it because it sort of feels like a living organism. It’s not something that’s so prescriptive in that way. It kind of flows. It’s amazing.

SCHAEFFER: Agatha says it in the episode: When Wanda created the Hex, which was essentially her intuitively casting a spell, she did it wrong, and she tied Vision and the kids to this world. So, she put herself in a bind where she put people under mind control that actually made them suffer which she, Wanda, was unable or unwilling to see. That’s what she was doing, and she tied the kids to this world. Not to take it too deep with the metaphor, but we often sort of thought of it as the Hex is this giant placenta and she did all this creating inside of it, and the kids and Vision can’t survive outside of it.

DEADLINE: But here she is, a woman going through grief, who creates this world and family to deal with it, and then she has to give it up? Why? For the greater good of humanity and the evolution of herself?

SCHAEFFER: Yes. For both of those things, because it’s wrong to imprison all of these people. You know, Agatha offers her that deal at the end. She says, I can fix the spell and I can remove suffering from all people, but we all know that if you remove our suffering, we’re no longer human, and that’s the journey that she has to go on. She has to embrace her own grief and suffering and see it for what it is, that it’s not all sorrow, that inside of grief is also a celebration of the thing that is now gone.

DEADLINE: Where is she in the wilderness? It’s certainly not Thanos’ cabin in Avengers: Endgame because he was in a tropical region.

SCHAEFFER: We, the audience, do not know where Wanda is in the tag.

DEADLINE: Given how this is a female-driven series, what percent of your writers’ room was comprised of female writers?

SCHAEFFER: The actual writers are half women and half men, but with Mary Livanos and me and my assistant, the room itself was majority women.

DEADLINE: With Wanda expected to star in Doctor Strange in the Multiverse of Madness, why didn’t Doctor Strange himself make an appearance in the finale?

SCHAEFFER: I heart Doctor Strange just like anybody. Yeah, it’s one of those things, that’s how the chips fell, that’s how the cookie crumbled, is what I will say, but I look forward to seeing him on screen with Wanda in Doctor Strange 2.
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Evan Peters was a bit of a cocktease, but I get why they did it. Using him is the only way to get the audience to make the leap with Wanda that this might really be some version of Pietro. If it was Aaron Taylor Johnson we would have been immediately suspicious of him back from the dead.

And Dottie, it's not like Emma Caulfield is a hugely famous actor. I know she has the genre history from Buffy, but it's more that the character was a red herring in the story. You need someone with a little cachet to make it work.
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Yeah I still really liked the show but yeah the mystery of wtf is going on was a lot better than the actual payoff. Turned out that the show was pretty straight forward and there really wasn't much of a mystery.
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Truthfully, after the Agatha reveal in the 3rd to last episode I would of had it so that Agatha was actually their to break Wanda out of the delusion she unknowingly put herself in albeit in a underhanded way, which is fitting for the comics. It wasn't just Wanda's grief that made her do it there was some nudging from Cthon and/or the Darkhold.

It absolves Wanda of some of the fault for enslaving a whole town for days? weeks? and sets up a tutelage under Agatha to better learn how to control her magic.
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If I were in the writing room, I would run with this idea of Agatha assisting Wanda with her witchery. Of course, I would argue for any plot that kept Kathryn Hahn in the MCU. For example, I'd like to see her opposite Hiddleston at some point.

Having said that, I'd like to point out that Marvel has always leveraged the concept of the anti-hero and their books are rife with examples. Heroes with personal issues. Heroes with a dark side. Heroes who are actually just normal people with normal problems afflicted with super powers. IMHO, this is the primary distinction between Marvel and DC. With Marvel, it isn't all "Bang! Pow! Schmackkkk!"

For that reason, I like the idea of Wanda becoming a heel. Or, at least going through a heel stage in her development as a character. All the devastation she's caused in the MCU to date has either been due to subterfuge and deception (see; Hydra and Ultron), mistakes and errors, or her inability to fully control her powers.

We now have a chance to see her descend into a purposeful and intentional "badness" and a potential arc in which she eventually finds a way to use her powers for "good".

If that's the plan, her story has an opportunity to mirror any number of Greek tragedies ... and I'm all for it.

FAX
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Disney + has an hour long documentary about the making of Wanda Vision.
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Is that the "bonus episode" they've been talking about?
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So it ended up being yet another Amazing show that everyone MUST watch that turned out to be a complete waste of time? I'm shocked.
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If you were basically done with the MCU post End-Game, then yes. If you are interested in where the MCU is going post End-Game then there is...a little bit of stuff that sets up...stuff. I just dont see how they are going to keep this going.
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Doesn't that basically describe any and all entertainment?
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Pretty much
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