There are so many scenes that seem like careful efforts to do right by every demographic the story touches: those with mental illness, Egyptian audiences, Jewish audiences, Latinx audiences, comics fans, and so forth. The ambition and intent of the creators behind Moon Knight seem clear throughout. This is an occupational hazard that comes with adaptation work that seeks to correct as well as translate.
And Moon Knight’s rushed pacing leaves enough room for doubt as to whether it is being intentionally ambiguous in some regards (like the nature of the asylum in the latter half of the show) or simply unclear. Of course, the final moments seem to strongly suggest that none of this is that clear-cut Jake Lockley’s presence implies that Marc and Steven don’t fully have a grasp on their condition. Marc and Steven now accept each other and amicably share their body/powers after negotiating a new deal with Khonshu, while Layla becomes Scarlet Scarab after entering a more equitable partnership with the goddess Taweret. “Gods and Monsters” is mostly preoccupied with bringing the arcs of its three most important characters - Steven, Marc, and Layla - to a conclusion. This leaves Moon Knight with pretty huge questions to account for, which is surprising in a show pitched as a miniseries with no clear follow-up planned. Layla El-Faouly (May Calamawy) becomes the superhuman Scarlet Scarab, and viewers finally meet Jake Lockley, the third persona sharing a brain with Marc Spector and Steven Grant (all played by Oscar Isaac) that’s been hinted at for the entire series. The finale, “Gods and Monsters,” abruptly ends with huge status quo shifts.
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The result is a series that ultimately feels rushed, like it needed more time.
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At its worst it started to tear at the seams, as its relatively stand-alone nature did not free it from the limits of the MCU. At Moon Knight’s best, the creators pulled this off with fun Tomb Raider-esque flair and big moments that didn’t culminate in your typical superhero fight. Moon Knight’s creative team set their ambitions high: not just to adapt this character’s story from page to screen for the MCU, but also to correct for the pulp transgressions of the source material and center the story around a modern-day Cairo, and modern-day Egyptians, as much as possible. But while shaky throughout, Moon Knight pulled it off, mostly. The thought of turning all that into six brisk episodes of coherent television boggles the mind. And all that is before you start to deal with the already-complex nature of most comic book continuity. Its premise of a white mercenary imbued with the power of an Egyptian moon god is classic orientalism later stories that revealed the character suffered from dissociative identity disorder led to comics that, while sometimes sensitive for the time, would need updating to reflect a contemporary understanding of mental health.
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Like a lot of characters in the pulp tradition - he first appeared in a comic called Werewolf by Night, after all - Moon Knight’s history is full of elements that clash with modern sensibilities.
Adapting Moon Knight could not have been an easy task.
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