David Farnor | On 14, Jan 2024

“Kingpin had his run. It’s time for a queen.” Those are the words of Maya Lopez (Alaqua Cox), who is taken under the wing of “uncle” Wilson Fisk (Vincent D’Onofrio) after the death of her father. We first met her in Hawkeye, Marvel’s Christmas-set crime caper, and Cox made such an impression as the deaf Choctaw woman with a prosthetic leg and next-level fighting skills that she now has a solo outing – and, while that might seem like a familiar formula for the MCU, this origins-story emerges as a surprising, distinct, character-driven gem.

This time round, we’re introduced to Maya before she was in Hawkeye – as she and her dad move from Tamaha, Oklahoma, to New York, after her mum has died in a car accident. When she learns that her dad’s death was caused by Fisk, she shoots him, then returns to her hometown. Creator Marion Dayre (Better Call Saul) and the writing team do so many smart things from the off. By showing us events adjacent to Hawkeye, instead of repeating footage or requiring us to have watched the earlier series, they position Echo as a story that can stand on its own. They also make sure her motivation for returning is revenge, to take over Kingpin’s empire – while the crime lord wasn’t her actual uncle, it establishes the show as a narrative about the importance of legacy and influence to one’s identity and sense of self.

Needless to say, the shadow of Kingpin looms large, and Vincent D’Onofrio once again reminds us that he might be the best piece of casting that Marvel has ever made: he’s chilling, oddly thoughtful and above all fuelled by loyalty (specifically, loyalty to him). He’s a furious, fiercely intimidating figure who’s powered by pure emotions, with no filter to stop him expressing them in the most harrowingly violent fashion. His presence does give us a bit of a taster for the upcoming Daredevil series (starring the always-brilliant Charlie Cox), but it’s testament to how well his character is written that he doesn’t feel like a cameo – and the direction, led by Reservation Dogs helmer Sydney Freeland, leans into that graphic, brutal tone.

Indeed, this is a rare MCU property to get an adult certificate, and the action that ensues – typically pitting Maya against Kingpin’s many underlings – is refreshingly gritty and impactful, closer to the Hell’s Kitchen Marvel series than anything that Disney+ has released to date. The choreography leans into her strengths and agility, with the sound design amplifying the hard-hitting nature of the skirmishes, but there’s also a sense of her reckless determination – from a close encounter with a man’s spine to sending a motorbike out of a shop window and into a police car.

Throughout, Alaqua Cox is remarkable as the stoic antihero, who is resilient through the loss and discrimination that have fought to define and shape her story. Even as she goes to dark extremes, she remains sympathetic and her exterior softens, just ever so slightly to let us see the emotions burning underneath, as she reconnects with her roots – including her uncle, Henry (Chaske Spencer), who conceals his own shades of grey, and her cousins, Bonnie (Devery Jacobs) and Biscuits (Cody Lightning), who struggle to understand her absence. There’s a lived-in feel to the ensemble, who bring affection and chemistry to their group – and naturally blend American Sign Language and Plains Indian Sign Language with their dialogue. The best of the bunch, perhaps, are Graham Greene as wise and warm family friend Skully and Tantoo Cardinal as her estranged grandma, Chula, whose heartfelt climactic conversation with Maya is at the very core of the series’ success.

Because while Echo might appear to be a brand-building, MCU-expanding spin-off, this beautifully observed and sincerely told drama genuinely cares about what Maya’s experiences mean for her as a person. The opening segments of each episode are an inspired idea, flashing back to one of Maya’s ancestors – from her mother, Taloa, back to Chafa, the first Choctaw. Their heroic powers echo down to, and through, Maya herself, which imbues this coming-of-age tale with a moving, uplifting quality that feels unique in the MCU.

The series is branded with a “Marvel Spotlight” banner, which seems to suggest some kind of prestige brand, but Echo is worth watching because it doesn’t require any special Marvel treatment or knowledge to enjoy a story of a young woman growing into a hero that she always was. That it’s laced with style, energy and action to boot (complete with opening titles worthy of The Girl with the Dragon Tattoo) is a delightful bonus.

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