Ronin Archives - The Wide Screen

December 3, 2021

“Hawkeye” Episode 3 Tells Echo’s Side Of The Story

**SPOILERS FOR HAWKEYE EPISODE THREE AHEAD!**

Of the few people who are actually talking about Hawkeye and making their opinions known on what is potentially the least-watched live-action Marvel Disney+ show yet, it seems from social media that most are just sticking around to witness the return of Vincent D’Onofrio as Wilson Fisk, better known by his supervillain alias, Kingpin. And after Hawkeye‘s third episode debuted yesterday, the series may have just ensured that Kingpin will continue to overshadow the rest of the story, much like how the character looms over everyone thanks to his impressive 6’7″ stature.

And mind you, all we see of Kingpin in episode three, in the roughly five seconds that he’s onscreen, is one of his hands, and a little bit of his suit. We hear him chuckle, but he doesn’t actually say a word to confirm that Vincent D’Onofrio is back in the iconic role. I’m excited to see Kingpin, don’t get me wrong, but it’s slightly frustrating that in five seconds he managed to pull focus away from everything else that happened in this episode, including our official introduction to Hawkeye‘s primary villain for the moment – Echo (Alaqua Cox).

To some degree, that’s on head writer Jonathan Igla and directors Bert & Bertie for not giving Cox’s adult version of Echo a standout action sequence or emotional beat, even though there were plenty of opportunities to blow audiences away on both counts. Her child version, played by Darnell Besaw, has one brief fight at a karate class that translates her photographic reflexes from page to screen, but while promising, we have yet to see Cox’s Echo utilize those abilities again. And her final scene with her father, who famously dies in the comics leaving a bloody handprint on Echo’s face, is significantly less impactful when Disney shies away from showing much blood.

But at the same time, it’s worth noting that MCU stans will find a way to overshadow Echo no matter what. Even when it was revealed that she would become the first Marvel character introduced on Disney+ to receive their own spinoff, all that anyone could talk about was how Kingpin and Daredevil could use Echo’s show as an arena in which to continue their conflict from the Netflix Daredevil series, as if Echo doesn’t have any stories worth telling from her own viewpoint.

And that’s a shame, because Echo happens to be a fascinating character, and Alaqua Cox in her debut performance brings a commanding presence to the role. A deaf Native American woman (and in the MCU, an amputee like Cox), left in the care of Kingpin after her father’s murder, Echo in the comics has a reputation as one of the most formidable street-level antiheroes in the global criminal underworld. There’s already so much going on with her in this episode that Hawkeye doesn’t even have time to reference the fact that in the comics, Echo was the original Ronin before Clint Barton (Jeremy Renner) took on the mantle.

Nonetheless, the two characters still have a very intriguing dynamic in the MCU. There’s a somewhat generic revenge storyline going on, with Echo under the (most likely false) impression that Clint as Ronin murdered her father, but what’s most compelling about their relationship to each other is how they interact as two characters with hearing disabilities. Hawkeye depicts a range of experiences through Echo, the MCU’s second deaf character after Lauren Ridloff’s Makkari in Eternals, and Clint, who has partial hearing loss.

This includes depicting the stark differences between the two, as well as the similarities. Echo uses sign language and as a child had to rely on lipreading because she wasn’t able to attend a deaf school, while Clint is still in the process of learning sign language and can’t hold a full conversation with Echo without the help of a translator using simultaneous communication (or SimCom), a controversial method where one signs and speaks at the same time, sometimes to the detriment of both languages but particularly to the signed language because the speaker is often a hearing person who mentally prioritizes their spoken language even while using SimCom.

I have not been able to find any articles specifically regarding the use of SimCom in Hawkeye, and thus it would be impossible for me to say as a hearing person who doesn’t speak any sign languages whether the SimCom in the show is accurate and intelligible. But something that I have seen others address, and that I noted myself while watching this episode of Hawkeye, is that the way shots are framed, the characters’ hands are often out of frame while they’re signing. It might seem like a small thing to some, but it also demonstrates why representation can’t stop at onscreen visibility. It takes a diverse team behind the camera to make sure that visibility is…well, visible.

I do appreciate, however, that Hawkeye actually utilizes its diversity for more than just surface-level visibility; Clint and Echo’s disabilities are an integral part of both their characters, and in this episode at least both deal with unique situations and challenges that arise because of their disabilities. At one point, Clint’s hearing-aid gets smashed under Echo’s boot during a fight, which in turn requires him and Kate Bishop (Hailee Steinfeld) to work together more closely, culminating in a scene where she helps him through an abrupt phone call from his son. It’s strongly reminiscent of a scene in The Umbrella Academy‘s season one finale, but still poignant and powerful.

In the superhero genre especially, it’s also important that diverse characters get the chance to be cool, which is why Makkari’s magnificent power display in Eternals was such a joy to behold. And here, it’s great to see that Clint at least is finally being given that chance thanks to his collection of trick arrows, each more dangerous than the last. Even though it’s pretty obvious that the show’s CGI budget got diverted elsewhere (let me guess, it’s all going into making Kingpin look taller), several of the arrows are very well-used, and the Pym Tech size-alteration arrow is particularly clever in theory.

In next week’s episode, we’ll also presumably see Clint take up a sword as he deals with the Swordsman himself, Jack Duquesne (Tony Dalton), who pops up right at the end of episode three (wielding Ronin’s blade) to remind us that, oh yeah, there’s a whole separate plot revolving around that unsolved murder mystery in episode one that has yet to tie into everything going on with Echo and Kingpin. At this point, with my theory that Echo would be connected to the MCU’s Red Room officially very unlikely to materialize into anything substantial (a shame, I thought it was a good theory), I have no idea when or why Yelena Belova will show up.

Perhaps, in trying to wrap up all these storylines with a neat little bow (and arrow), Hawkeye will bite off more than it can chew, but for the time being I’m just enjoying the ride. As long as Renner and Steinfeld continue to have great banter and chemistry, and Echo continues to develop into a more well-rounded antagonist to the duo, that shouldn’t be hard. I just have to hope that they don’t let Kingpin steal the show from them without putting up a fight.

Episode Rating: 7.5/10

November 24, 2021

Hawkeye’s First 2 Episodes Kick Off A Street-Level Story

**SPOILERS FOR THE FIRST TWO EPISODES OF HAWKEYE AHEAD!**

Even with the first two episodes released simultaneously this morning, Hawkeye is taking just a little bit longer to pick up speed than Marvel Studios’ last four Disney+ shows. It’s getting there, but the ending of episode two left me still waiting for that big “wow!” moment when the show would kick into gear – and disappointed that such a moment won’t arrive until next week at the earliest. If the series had more than six episodes to its first season, I wouldn’t be concerned, but now I wonder if Hawkeye will even have the time it needs to find its groove, much less stay in that groove long enough to make an impact.

In the meantime, Hawkeye takes us on a pleasing, if somewhat safe and slow-moving, joy-ride around the outskirts of the MCU’s criminal underworld. The series gets progressively more exciting as it ventures deeper into that dark and largely uncharted territory, although the trappings of Christmas in New York City are never far from sight, providing a visual contrast to all the violence and crime (in just the first episode, we have a murder and a musical number), and a pop of color that keeps the series from ever looking as blandly gritty as some of the Marvel Netflix shows that shared similar plots and street-level characters.

Hawkeye, a.k.a. Clint Barton (Jeremy Renner), is kind of a quintessential street-level character, as his enhanced accuracy and precision are superpowers grounded heavily in realism, that give him a slight advantage over your average criminal but don’t offer much if any protection from, say, Loki or Ultron or Thanos – the villains whom the Avengers took on, and whose low-level minions Hawkeye and Black Widow usually got saddled with killing. The Avengers movies were simply too epic in scale for Hawkeye’s bow and Black Widow’s batons to make much of a difference, so the writing emphasized their relatable qualities and made them out to be the team’s heart and soul, with Black Widow even sacrificing herself for the Soul Stone; taking the metaphor a step too far.

But sometimes all you need to do is reel it back a little for these characters to work. Not every hero needs to save the world every day – sometimes the most vividly-realized villains are those who threaten the hero on a more personal level, endangering them and their loved ones, challenging their worldview, or both. Because that gives us a reason to care, and it makes every injury sting a little fiercer. It’s not impossible to write a supervillain who checks those boxes, either, but the threat usually rings truer when it’s coming from someone grounded – like Echo (Alaqua Cox) who at least for now seems to be Clint’s primary antagonist in Hawkeye.

And we’re not even introduced to Echo until the end of episode two. Until then, Hawkeye is slowly working his way through her henchmen, a bunch of burly Eastern European men who call themselves the Tracksuit Mafia, and despite their ridiculous name (although, as Hailee Steinfeld’s Kate Bishop would be the first to admit, their branding is on-point), they’re more than a match for Hawkeye when he’s dispossessed of his bow and forced to rely on his limited mixed martial arts skills. We see him and Kate get hurt, repeatedly, and the show doesn’t gloss over those injuries like Black Widow did every time Natasha fell from some great height and miraculously walked off without so much as a scratch.

When Kate gets a nasty cut on the forehead, there’s an entire sequence devoted to properly cleaning her injury, in which Clint demonstrates those effortless mentoring skills that make him so popular with aspiring young superheroes. Clint knows the reality of what happens to average people who get entangled in Avengers business. By the time Hawkeye opens, two years after Avengers: Endgame, he’s already wearing his hearing-aid from the comics and using sign-language occasionally (the second MCU character to do so after Eternals‘ Makkari), which is explained as being the result of all those battles and loud explosions.

It’s easy to see why, in-universe more than in the real-world, regular folks look up to Hawkeye. He’s theoretically more accessible than any of the other main Avengers, whose ranks originally included a literal god, an ageless superhuman, a billionaire encased in high-tech armor, an enigmatic double-agent, and a man who did most of his work with the Avengers while trapped inside an uncontrollable green monster. Conversely, Clint is just a guy; but ironically, while that might seem to make him a better role model, Hawkeye plays with the idea that maybe…just maybe…we shouldn’t put any of these people on pedestals.

Clint is just a guy, but that means he’s also fallible. In his relatable mission to get back to his family, he’s always walked that thin line between doing what’s right and what’s best for him, demonstrating even less remorse about it than Black Widow. Sure, MCU fans love to defend him by saying that the victims of his serial killer spree in Endgame were all criminals, and maybe that’s true, but we still don’t know by what devious methods Clint acquired the Ronin mantle he used to commit those killings, and I’m inclined to believe that Echo might expose truths about him that nobody – least of all Hawkeye’s protégé Kate Bishop – wants to hear.

If Hawkeye continues down this path of deromanticizing the myth of the superhero, it could be revolutionary for the MCU. Kate Bishop in particular would come out the other side having learned some important lessons about the responsibility of heroes to wield their influence wisely, that would serve her well as she steps into a leadership role over the Young Avengers. I don’t know if the show will commit to this idea, because Disney absolutely still wants people to put the Avengers on pedestals and buy all their merchandise, but it’s nice to think about.

And even Kate is more morally gray than I expected. Not quite on the level of Hawkeye murdering people and leaving their bodies in the street, but the show doesn’t pretend that she hasn’t been spoiled all her life by her extraordinarily wealthy mother Eleanor Bishop (Vera Farmiga), who’s secured her a spot in a high-end college and a permanent job at Eleanor’s own security company. Tony Stark also benefited from mind-boggling wealth and nepotism, which the MCU simply never saw as a problem until after his death when The Falcon And The Winter Soldier raised the question of why he never paid the Avengers, but with Kate they could right those wrongs by actually addressing her privilege, and the ways it can be weaponized for good or evil.

We’ll see if the show chooses to double down on any of these themes, or if my reading is completely wrong in the end. What’s more certain is that, as was the case with WandaVision and The Falcon And The Winter Soldier and Loki, these first two episodes are seeded with clues regarding the season’s overarching mystery. There’s always more going on beneath the surface of these shows than what meets the eye at a first glance, and because these mysteries often lead circuitously back to characters that will be significant going forward, we’ve learned to pick up on these clues more quickly and to connect the dots.

Sometimes we’re still completely wrong, and the Mephisto debacle is a testament to what can happen when fans get so wrapped up in theories that they forget to focus on the show itself. But Hawkeye definitely wants us to know that someone relevant was behind the murder of Armand Duquesne (Simon Callow). While it might not have been his suave nephew Jack (Tony Dalton), their family history in the comics is shady nonetheless. Jack is better known as the Swordsman, an identity alluded to when Kate challenges him to a fencing duel in which he only pretends to be unskilled.

But if Jacques didn’t murder Armand, who did? Kate’s mother is a likely candidate. She had motive, surely, although we still don’t know exactly why Armand was threatening to call up his “powerful friends” to deal with her. Echo is another option, and Yelena Belova is supposed to appear in Hawkeye, although I have no idea why she’d want to kill Armand. The name that’s come up among fans is that of the Kingpin, the crime-lord who is Echo’s father figure in the comics and arguably the most prominent street-level villain. He has yet to appear in the MCU, although Vincent D’Onofrio memorably portrayed the role in Netflix’s Daredevil and there is some speculation that he may return to the role.

Thus far, we haven’t been given enough clues to build a compelling argument for or against any of these potential killers, and the murder mystery takes a backseat in episode two while Clint is off investigating the Tracksuit Mafia at a medieval-themed LARP (live-action roleplay) event that is a completely random and boring setting for a scene that drags on pointlessly. The slow pace of both these episodes is a problem, but Renner and Steinfeld have an easy chemistry that helps keep the momentum going, and Steinfeld at least sells all of her solo scenes (the same can’t be said of Renner, who is giving a strangely distant performance when we first reunite with him).

But with some assistance from an adorable dog that loves pizza, Renner and Steinfeld carry the first two episodes of Hawkeye through most of its rougher patches and hopefully won’t have to wait too long before the show finds its footing and rises to the level of Marvel Studios’ other Disney+ shows.

Episodes Rating: 7/10

September 23, 2021September 23, 2021

“Visions” Is Exactly What Star Wars Needs To Be In 2021

**SPOILERS FOR STAR WARS: VISIONS AHEAD!**

Every live-action franchise should consider experimenting with the medium of animation. It’s worked out extremely well for DC Comics (one of their most popular characters, Harley Quinn, originated in Batman: The Animated Series), and the MCU is starting to get into the business too, with What If…?, but Star Wars really redefined the ways in which animation could support and enrich a live-action franchise. And with the release of all nine episodes of Star Wars: Visions, Star Wars displays a willingness to think outside the box that shows why the franchise is still at the forefront when it comes to bridging that gap between live-action and animation.

Star Wars: Visions is an anthology series like Marvel’s What If…?, but whereas the various storylines in What If…? will eventually converge, the stories told in Star Wars: Visions are wholly unconnected – there’s no overarching plot, no framing device like What If…?‘s narrator, and no single animation style. Visions is also not intended to be viewed as canon, and most of the stories seem to exist outside of the Star Wars timeline, either unimaginably far into the franchise’s past or even further into its future. That’s not to say they couldn’t be integrated into canon, and there are several characters I’d love to see more of, but it’s not constantly in the back of your mind the way it is with What If…?

Because all of the episodes have been released already (robbing me of the chance to review them weekly), and they are all so different, I’ve decided to structure this review as a kind of episode ranking – moving from my least-favorites to my favorites.

Tatooine Rhapsody

Star Wars: Visions — Boba Fett | gamerevolution.com

The only episode of Visions that I found myself tempted to fast-forward through at multiple points, Studio Colorido’s Tatooine Rhapsody is a bland and uninspiring genre mash-up that feels like it was originally intended to be the pilot of an Apple TV original sci-fi series, and then got awkwardly reworked into a Star Wars story at the last minute. It’s the only episode that goes a little too heavy on the callbacks and nostalgia, with cameos from Boba Fett (voiced by Temuera Morrison), Jabba the Hutt, and Bib Fortuna, as if the writers realized that their main storyline about a garage band looking for work on Tatooine felt nothing like Star Wars, so they tried to force in a whole bunch of iconic characters to make it more natural.

Unfortunately, I didn’t like the writing, and I didn’t like the animation style here either. Some of the character designs were pretty cute, like tiny little Boba Fett with his big bobble-head helmet and even Bib Fortuna, but not enough to save the episode from looking like a low-budget Cartoon Network show devoid of charm or whimsy.

Episode Rating: 1/10

T0-B1

There’s so many words to describe this episode…the most flattering of which is perhaps “quaint”. A vaguely disturbing twist on the story of Pinocchio, seemingly styled after that and other Disney cartoons from the 1940’s, T0-B1 plays out like the plot of the 1993 video game Putt-Putt Goes To The Moon…which is to say, there really isn’t all that much of a plot. T0-B1 (voiced by Jaden Waldman), a clumsy little droid who wants to be a Jedi, searches around his home planet for a hidden kyber crystal, and at any moment you expect him to turn to the audience and ask for you to click on objects on the screen. Occasionally he’ll report back to a zany old professor who teaches him valuable life-lessons about the Force.

If this were supposed to act as a lighthearted diversion from some of the heavier episodes, it would be one thing. But that’s very much not the case, as the zany old professor ends up being killed by a Sith Inquisitor and T0-B1 gets impaled (he’s a droid so he survives, but it’s still quite brutal). The hauntingly beautiful animation by Science SARU makes this an interesting watch, I suppose, but not a particularly fulfilling or even exciting one.

Episode Rating: 3.9/10

Akakiri

I’m still sorting out my thoughts on this macabre tale of horror and suspense, which plays with some very intriguing concepts about fate and destiny while also reusing the whole story (down to some awfully specific plot-beats) of Anakin Skywalker’s fall to the dark side. Tsubaki (voiced by Henry Golding) is our Anakin stand-in, a rugged young Jedi knight who falls in love with a princess in a political crisis and becomes her guardian, all while suffering from visions of her death (although in this case, he doesn’t realize it’s her in the visions, or that he’s the one killing her). He ultimately joins the Sith in a desperate effort to save her life, after accidentally killing her in a rage.

Regardless of the episode’s quality, I would not have chosen it to close out the first season of Visions. It’s a deeply morbid and depressing story of people stripped of their agency by invisible forces, and the eerie (yet strikingly beautiful) animation by Science SARU only heightens the feelings of dread that the episode inspires. I enjoyed it, and this episode had some of the best voice-acting in Visions (particularly Golding, Jamie Chung channeling Padmé Amidala in her character Misa, Lorraine Toussaint as Sith warlord Masago, and George Takei as a much-needed comedic relief character), but it’s not a fun watch.

Episode Rating: 4.9/10

The Twins

Fast-paced, well-acted, and stunningly animated by Studio Trigger with a clean-cut futuristic aesthetic, this lean and mean story was right on the edge of greatness. With its tale of twin siblings bred and birthed by the dark side of the Force, one breaking free from their appointed destiny and the other bound to it, The Twins acts as good counter-programming to the hopeless messages of Akakiri, but it’s weighed down by a lot of exposition, and the action isn’t as thrilling as you’d probably expect, possibly because it’s so heavily stylized that it sometimes feels like a lightshow instead of an actual fight.

That said, there are some very cool elements here too: Karre (Neil Patrick Harris)’s multi-colored lightsaber gave me serious She-Ra vibes, and Am (Alison Brie)’s six robot appendages and lightsaber-whips make for some striking visuals. I also enjoyed seeing Karre employ the controversial Holdo maneuver from The Last Jedi, although seeing it recreated in a series of almost identical shots felt a tad unimaginative. And the ending lends itself to continuation, whether in animation or in live-action.

Episode Rating: 5.9/10

The Duel

Of all the Visions episodes, each beautiful in their own right (except for Tatooine Rhapsody), Kamikaze Douga’s The Duel is surely the most striking from an artistic standpoint. Designed to resemble grainy black-and-white film, the animation style pays homage to Akira Kurosawa, the Japanese director whose work inspired George Lucas’ original vision for Star Wars. The story is a sci-fi twist on a classic scenario from the samurai genre: a war-weary sword-fighter, usually a rogue samurai (rōnin) comes to town and helps the local people in a conflict with another great sword-fighter, typically the leader of a band of raiders who’ve been pillaging the area’s natural resources.

Because it features such an archetypal setting and cast of characters, the outcome of the titular lightsaber duel between the subtly-named Ronin (Brian Tee) and the umbrella-wielding Sith Bandit Leader (Lucy Liu) is never in question, but there’s something comforting about that, as well as the gracefulness with which Ronin conducts himself in battle. The real subversion of expectations is that Ronin isn’t a former Jedi as you’re initially led to believe, but a former Sith repenting for his evil deeds, which is ten times cooler. In short I loved this, and I hope to see more of Ronin in the future.

Episode Rating: 8/10

Lop And Ochō

This episode would likely have cracked into my top three if the story hadn’t ended quite so abruptly. Even more so than the beautiful and richly-detailed animation by Geno Studio or the incredible score by Yoshiaka Dewa, what really stands out to me about this story is the character work. Set sometime during the reign of the Galactic Empire, we follow the disintegration of an ancient clan as its patriarch, Yasaburo (Paul Nakauchi), and his biological daughter Ochō (Hiromi Dames) fall to fighting over whether to side with the Empire in the best interests of their family, or fight back and try to protect their planet. Standing between them is Yasaburo’s adopted daughter, Lop (Anna Cathcart), a leporine alien who feels like an outsider in her own house.

The episode delivers a great message about found family as Lop emerges as the true successor of the Yasaburo clan, and even inherits their most precious heirloom: a green-bladed lightsaber that is probably one of the most beautiful in all of Star Wars history. I was perfectly prepared for this to become my favorite episode – and then it just ends, having not only not resolved the conflict at hand, but with the situation even more dire than before. If this story ever continues, I think the relatively small scope of the story, the beautiful backgrounds, and Lop’s ability to leap long distances and glide around via umbrella are all good reasons to make a Lop And Ochō video game.

Episode Rating: 8.5/10

The Ninth Jedi

Coming in at third place, I have The Ninth Jedi – which, of all the Visions stories, screams out for some kind of continuation. This gripping tale of mystery, suspense, and political intrigue, filled with extraordinary action and instantly endearing characters, comes to us from the mind of writer/director Kenji Kamiyama at Production I.G, who will also direct War Of The Rohirrim, an upcoming anime film based on The Lord Of The Rings. I was already excited for that, but now I can’t wait to see what Kamiyama will do with characters and stories I know like the back of my hand.

In this story, set hundreds of years after The Rise Of Skywalker during a new conflict between the Jedi and an emboldened faction of Sith, Kamiyama devises a whole new set of rules regarding lightsabers (specifically their colors) that honestly makes more sense than the established canon. Here, a lightsaber’s color is a visual indicator of the wielder’s personality as well as their strength in the Force, which is why as the heroine Kara (Kimiko Glenn)’s confidence increases, her blade goes from transparent to green. And the color can change even after that, based on the wielder’s actions. These changes have made some fans mad (of course), but this is the kind of expansive creativity I hope Kamiyama brings to Middle-earth.

Episode Rating: 9/10

The Elder

Visions is quite a scary series, and Studio Trigger’s The Elder is a perfect example of how the most effective horror is almost always subtle, shocking our senses but more importantly affecting us on a psychological level. We can close our eyes to avoid a jump-scare, but there are things that lurk in the corners of our minds that are much harder to shake. Good horror plays on that, and gets into our heads. With a powerful message about accepting the inevitability of death, The Elder is able to do just that.

The episode is anchored by three characters at different stages in their lives – The Elder (James Hong), a mysterious Sith lord clinging to his frail mortal body, Tajin (David Harbour), a world-weary middle-aged Jedi knight, and Dan (Jordan Fisher), Tajin’s reckless young padawan who tries to defeat The Elder in combat and is soundly defeated, just barely escaping with his life. It’s Tajin who must ultimately defeat The Elder, and conquer his own fear that his best days are behind him. Their duel is appropriately mythic in proportions, and the episode ends with a tantalizing mystery about The Elder’s true identity that could easily support future chapters of this story.

Episode Rating: 9.5/10

The Village Bride

I had a hard time deciding my favorite between The Elder and The Village Bride, but there’s just so much to love about this story, from the way it masterfully interweaves elements of Shinto philosophy with Star Wars’ concept of the Force, to the ethereal score by Kevin Penkin, and the fascinating new character of F (Karen Fukuhara), all wrapped up in a vibrant, colorful package courtesy of the delightfully named Kinema Citrus. The Village Bride is the episode I would have chosen to close out Visions: it sums up everything the series is, and everything that Star Wars can be in good hands.

The story is similar to that of The Duel, with the crucial difference being that the cynical former Jedi F is inspired and her faith in the Force restored by the local townspeople when she learns how the titular village bride Haru (Nichole Sakura) is actively trying to save her people from their enemies. It acts as a wake-up call for her, reminding her that a Jedi’s first and foremost duty must always be to help those in need. And when she joins the townspeople in their fight, it made me respect the Jedi again in a way I haven’t felt as a viewer for a while now.

The episode has something for everybody, from amazing action (let’s just say, you do not want to get on F’s bad side while she’s wearing heels) to a genuinely happy ending that feels so rare for Star Wars sometimes that I had to mention it. This is my favorite Visions episode, and it’s the kind of hopeful story that I need to see more of from the franchise.

Episode Rating: 10/10

March 22, 2021

“Echo” Hawkeye Spinoff Coming To Disney+!

It’s becoming increasingly clear that Jeremy Renner’s Hawkeye is probably the least interesting part of the upcoming Hawkeye Disney+ series…which I imagine really sucks for Renner’s hardcore fans, but is great for those of us who are only going to be watching Hawkeye for the amazing women involved: Hailee Steinfeld’s Kate Bishop, Florence Pugh’s Yelena Belova, Vera Farmiga as Eleanor Bishop, and Alaqua Cox as the antiheroine Echo.

And despite being a complete newcomer to the acting scene, it’s Alaqua Cox’s Echo who’s apparently first in line for her very own Disney+ spinoff coming out of Hawkeye, a series that hasn’t even finished filming yet. Variety reports that, while the spinoff is still in the early stages of pre-production, Etan and Emily Cohen have come onboard to write the series scripts. This news, if true, would make Echo the first Marvel character introduced on Disney+ to get her own solo spinoff, further enriching this vast corner of the MCU, and hopefully proving once and for all that the Disney+ series’ aren’t just supposed to act as extended prologues and epilogues to other movies – they are their own thing, and should be viewed as such.

It’s been hard to convince some fans of that latter point, particularly when dealing with a universe where the occasionally eyeroll-inducing need for “interconnectedness” drove viewers away from Marvel’s previous TV collaborations with ABC (which hosted the long-running and criminally underrated Agents Of S.H.I.E.L.D.) and Netflix (which only just recently relinquished the rights to Marvel’s Defenders content, including beloved heroes like Daredevil and Jessica Jones), after those TV series’ struck out on their own and forged new ground…in the process becoming less essential viewing for the MCU overall. That’s a pattern we saw repeated after WandaVision‘s finale, which proved to be controversial in part because fans felt cheated when the series didn’t halt in its tracks to introduce the Multiverse, or reveal villains like Mephisto and Nightmare, or reinstate Fox versions of the X-Men (though, to be fair, Evan Peters should have been playing Peter Maximoff), despite laying the groundwork for at least two other Marvel films and another Disney+ series.

The news that Echo specifically is getting a spinoff is exciting for several reasons. The character – whose codename comes from her ability to expertly replicate or “echo” any opponent’s fighting style and techniques – is a deaf Native American antiheroine named Maya Lopez, who rises through the ranks of the criminal underworld to become a widely-feared and respected warrior. While operating in Japan and fighting a faction of HYDRA, she adopted the alias of “Ronin”, the same name we saw Hawkeye himself randomly pick up in Avengers: Endgame, during his five years as a vigilante/serial killer. The Hawkeye series will hopefully explain away all the mysteries surrounding the Ronin identity, including whom it belonged to first in the MCU canon, but Echo’s story doesn’t have to end there.

In the comics, Maya Lopez goes on to help and hinder the Avengers at various points, even playing a critical role in the Secret Invasion storyline which will be adapted for Disney+ in the near future. She’s had complex relationships with many of Marvel’s grittier street-level characters, including Daredevil, Moon Knight, and the Kingpin – who mentored her throughout her childhood, after first murdering her father. Maya later turned on Kingpin and left him temporarily blinded, but he’s honestly the least of the villains she’s battled while wielding her signature nunchuks, from Madame Hydra to the Skrull Queen Veranke – the former of whom at least deserves to be brought back into the MCU, with Mallory Jansen reprising the role she so brilliantly originated on Agents Of S.H.I.E.L.D. In one storyline, Echo even hosted the cosmic power of the Phoenix Force within her during an underwater battle with Namor.

Echo’s role in Hawkeye is still unknown, though I remain confident in my theory that she’ll be revealed to be one of the last remaining Red Room cadets trained by Taskmaster, positioning her at an intersection between the storylines of Hawkeye and Black Widow and making her the literal “echo” of one of Widow’s greatest failures, still reverberating through current MCU history. Having her own spinoff series, though, vastly expands the number of stories that could be told with the character – from undercover work as a ninja in Japan, to fighting alongside Daredevil on the streets of New York City, all while helping to increase onscreen visibility for the Indigenous and disabled communities.

But what do you think? Are you excited to see Alaqua Cox as Echo? Do you have any theories about her spinoff? Share your own thoughts, theories, and opinions, in the comments below!