Dr. K's Waiting Room

Air Date: 30 March 2022 to 4 May 2022
Network: Disney+
Stars: Oscar Isaac, Ethan Hawke, May Calamawy, Gaspard Ulliel, and Karim El-Hakim and F. Murray Abraham

The Background:
In May 1975, Doug Moench, Don Perlin, and Al Milgrom’s silver-clad mercenary, Mark Spector/Moon Knight, debuted in the pages of Werewolf by Night. The character, who was inspired by 1930s pulp heroes like Lamont Cranston/The Shadow, evolved into one of Marvel’s more complex and bizarre characters thanks to his Dissociative Identity Disorder (DID), which went a long way to quash unfair comparisons between him and Bruce Wayne/Batman. Although easily one of Marvel’s more obscure superheroes, Moon Knight featured in a number of Marvel videogames and cartoons; a live-action appearance was also hinted at in Blade: The Series (2006) and development of a Moon Knight television series has done the rounds at Marvel Studios since 2008. Things finally got underway in 2019, when the series was greenlit for streaming on Disney+, with Marvel bringing in writers and directors to develop the series with a focus on the character’s Egyptian history and mythology. Marvel Studios head honcho Kevin Feige specifically saw Moon Knight as a means to push the boundaries of the Marvel Cinematic Universe (MCU) by offering a darker product than their usual output and through exploring the character’s DID. Oscar Isaac landed the title role and emphasised that the show would explore aspects of the Jewish faith alongside delving into the character’s complex multiple personalities, while Marvel scored another coup by getting Ethan Hawke onboard as the main antagonist (and without showing him a script). Meghan Kasperlik designed the eponymous vigilante’s costume, incorporating a functionality and an otherworldliness that would be in keeping with the show’s supernatural slant, alongside the more formal “Mr. Knight” suit. After some delays due to COVID-19, Moon Knight released in weekly instalments on Disney+ and was met with extremely positive reviews; critics praised the visuals and subversion of expectations offered by the series, and the bizarre nature of the show was particularly lauded, though some did question the execution and Moon Knight’s lack of screen time. Although Oscar Isaac didn’t initially sign on for future appearances, Kevin Feige stated that Moon Knight would eventually cross over into other MCU properties, and he and many of those involved were open to returning in the future.

The Plot:
Mild-mannered gift-shop employee Steven Grant (Isaacs) is plagued with blackouts and memories of another life thanks to suffering from DID. When one of his personalities, mercenary Marc Spector, bubbles to the surface, he learns that he’s actually Moon Knight, the cloaked avatar of the Egyptian moon god Khonshu (El-Hakim and Abraham), and Steven is drawn into zealot Arthur Harrow’s (Hawke) plot to “heal the world” through the malicious power of the Egyptian goddess Ammit.

The Review:
Moon Knight is a character I know next to nothing about beyond some sporadic appearances in Marvel videogames, and a general understanding of him, so his appeal, for me, has always been a very visual one. There’s something about his silver, hooded outfit and crescent moon gadgets that really speaks to me and I’ve always wanted to read more his stories but haven’t yet found an appropriate place to start. I’m a big fan of Oscar Isaac, Egyptian mythology, and the psychology and visual spectacle exploring a character like Moon Knight offers, however. I was hoping that Moon Knight would help to establish a contingent of street-level vigilantes in the MCU, ones whose concerns weren’t with sky beams and alien invasions, and delivering something a little more gritty and violent compared to the generally family-friendly MCU formula. When we’re first introduced to Steven Grant, he’s a simple gift shop clerk at the British Museum and having a great deal of trouble with his sleeping habits; suffering from insomnia and blackouts, he chains himself to his bed and rigs precautionary measures throughout his flat to track when he’s gone walkabout and stays up late playing with a Rubik’s Cube and reading up on the Ennead, a group of nine Egyptian Gods due to have a special exhibition at the museum. Steven’s tardiness and constant attempts to put his knowledge of and respect for Egyptian lore to better use as a tour guide earns him the ire of his boss, Donna (Lucy Thackeray), and he comes across as a bit awkward and frustrated with his lot in life. He wants more from life, and aspires to be more and put his knowledge to good use, but people frequently get his name wrong and he’s constantly shot down by Donna and held back by that quirky British politeness that keeps us from complaining. Steven’s only confidantes are his one-finned fish, Gus, and a mute, motionless living statue, Crawley (Shaun Scott), to whom he can freely vent about his issues and anxieties; however, he does leave regular messages for his beloved mother and has a crush on his co-worker (and actual tour guide), Dylan (Saffron Hocking). Although he has no memory of arranging a date with her, he’s excited at the prospect and consequently left absolutely devastated when his frequent blackouts cause him to miss entire days, thus ruining his chances with her.

It’s said that Steven’s blackouts have caused him to find himself in odd situations with no memory of how he got there, and he often treats many of the things he witnesses as nightmares, but his perception of reality is shattered when he finds himself being chased by armed men in the Austrian Alps! There, he not only discovers a strange golden scarab and encounters the measured and fanatical Arthur Harrow for the first time, but the mysterious, disembodied voice of Khonshu chastises him, calling him an “idiot” and a “parasite” and demanding that he “surrender the body to Marc”. Steven’s nightmare literally comes to life, however, when Harrow proves to be real and shows up at the museum looking to retrieve the scarab, which is actually a compass that can lead him to the tomb of Ammit, an Egyptian Goddess whom he serves and whose power he uses to judge whether souls are (or will ever be) capable of good or evil deeds. Recognising Steven as a “mercenary” who stole the scarab from his sect, Harrow is a former servant of Khonshu’s who became disillusioned with the moon god’s reactionary methods and has pledged himself to Ammit, who sees and knows all and judges people fairly according to their character, which he believes could’ve prevented some of the world’s most disastrous tragedies and wicked tyrants from rising to power if she hadn’t been betrayed and imprisoned by the Ennead. Like Steven, Harrow also hears a “maddening, relentless” voice in his head but he’s a far more emotionally composed and subdued individual, speaking with confidence and conviction and fully at ease with himself and his life’s mission. When he tries to judge Steven, the scales remain out of balance due to there being “chaos in [him]”; this chaos is Marc Spector, an alternate personality who inhabits Steven’s body and takes control of it whenever he’s in danger. This leads to a number of jarring and amusing jump cuts that show Steven having an episode and then waking up to find himself in the middle of a high-speed car chase or surrounded by dead bodies, but it’s not until Harrow’s jackal-like minion comes after him that Steven is forced to acknowledge that the voice in his head and his independent reflection are actually real and allow Marc to take control.

While Steven is somewhat awkward, a little sarcastic, very honest, and polite and speaks with the facsimile of a British accent, Mark speaks with an American accent and is a far more confident and self-assured individual. A disgraced and dishonoured soldier who turned to working as a mercenary, Marc is a dangerous and formidable fighter who carries a great deal of guilt on his shoulders; the avatar of Khonshu, Marc is charged with protecting the vulnerable and delivering Khonshu’s “justice” to the wicked, but this is contingent on Steven not interfering and Khonshu regularly admonishes Marc for not being able to keep Steven under wraps. Believing that he’s suffering from paranoid delusions and fully prepared to seek medical advice about his condition, Steven is confused and intrigued when Marc’s wife, archaeologist and adventurer Layla El-Faouly (Calamawy), tracks him down to finalise their divorce. After months of trying to get a hold of him and believing him to be dead, Layla initially believes that Marc is indulging in a deep cover story and is frustrated by his odd accent and behaviour, so she is understandably distraught to find that he not only doesn’t remember their life or adventures together, but also that Marc never confided in her about his condition. For his part, Marc has desperately been trying to keep both Steven and Layla safe; he’s distanced himself from his wife to keep her out of Khonshu’s grasp, since he’s always on the lookout for a new avatar, and the moon god effectively manipulates Marc into prolonging his service by threatening to take Layla if he doesn’t prevent Harrow from awakening Ammit. Marc is given the power to accomplish this through Khonshu’s “armour”, a wrapping of magical bandages that he can summon at will to become the titular Moon Knight. Armed with crescent moon weapons and capable of gliding on his matching cape, Moon Knight exhibits superhuman strength, agility, and durability, easily beating Harrow’s jackal to death and overwhelming a number of armed foes. The suit grants him accelerated healing and effectively makes him unkillable, allowing him to survive being shot at and impaled, but he’s not resistant to pain and loses his power when Khonshu is imprisoned in a small stone ushabti by the Ennead. Marc is well versed in the suit’s capabilities and has amassed quite the body count carrying out Khonshu’s will, but Steven is far more awkward; when he’s attacked by another jackal, Steven summons a literal three-piece suit and matching mask, much to Marc’s disappointment, and uses two far less lethal batons as Mr. Knight. However, just being granted superhuman abilities doesn’t make Steven a competent fighter and, when innocent bystanders are put at risk or the situation gets out of hand, Steven allows Marc to take control as Moon Knight so he can glide through sky, flinging himself across rooftops, and impale such monstrous creatures in suitably dramatic fashion.

Steven greatly disapproves of the bloodshed, however, and constantly interferes whenever Marc or Moon Knight are close to killing; when chasing down leads in Cairo, Marc is frustrated by these constant blackouts, which see Steven trying to get them out of the country before Marc can hurt or kill anyone, but both of them are confused when the bodies continue to pile up without their knowledge and they’re left without a lead when Harrow’s men demonstrate their commitment through suicide. Thus, they’re forced to turn to the Ennead for help and Khonshu summons a meeting of their avatars within the Pyramid of Giza by manipulating the sky; this is a problem, however, as the Gods disapprove of Khonshu’s theatrical and volatile nature as it threatens to expose them to the world. While Khonshu claims to be “real justice” since he punishes those who’ve done “real harm”, Harrow believes that Khonshu is a fickle and unstable liar who preys on those with a strong moral conscious, and it’s true that none of the Gods have much respect for him. In attempting to warn of Harrow’s intentions, Khonshu condemns himself to the Gods’ avatars – their leader, Selim (Khalid Abdalla), avatar of Osiris; Yatzil (Díana Bermudez), avatar of Hathor; and the avatars of Horus (Declan Hannigan), Tefnut (Hayley Konadu), and Isis (Nagisa Morimoto) – by accusing them of abandoning humanity. This enraged outburst is all the ammunition Harrow needs to manipulate the Gods into imprisoning Khonshu, thereby stripping Marc and Steven of their superhuman abilities, by branding the moon god a paranoid, jealous, unhinged outcast who’s so off the deep end that he acts through a psychologically unstable avatar. Although she’s powerless to prevent Khonshu’s imprisonment, Yatzil gives Marc a lead on Ammit’s tomb out of respect for her previous relationship with Khonshu and, thanks to Layla’s connection, they’re able to locate a sarcophagus in the possession of conceited, condescending self-styled philanthropist Anton Mogart (Ulliel). While Harrow pursues them and ultimately destroys the sarcophagus in a demonstration of power, Steven uses his knowledge of Egyptian scripture and hieroglyphics to help piece together the location of Ammit’s tomb, proving his usefulness despite not being as physically useful as his alter or Layla in a fight. Along the way, Steven becomes excited at the prospect of an adventure and exploring an actual Egyptian tomb and a strange love triangle eventually develops between Steven, Layla, and Marc as Layla warms to Steven because of his honesty and morals and they share both a kiss and a tender moment when she reminisces about the adventures of her father, Abdallah El-Faouly (Usama Soliman).

In contrast to Steven, who’s ungainly and full of self-doubt, and the mercenary Marc, Harrow is a well-spoken, composed, and enigmatic religious zealot and cult leader who willingly subjects himself to daily pain by filling his shoes with glass. His cane not only carries the likeness of Ammit but also contains a fraction of her power; with it, he’s able to determine whether a person is or ever will be good or evil, with the impure instantly dropping dead on the spot. Such is his allure and silver tongue that he’s easily able to manipulate regular mortals and Gods alike with just a few words and has swayed many to his cause; enough, in fact, to have established an idyllic society free from fear, crime, and selfishness where he is heralded as a savour, father figure, and leader. There, food is free, information and experience are openly shared, and everyone strives to better themselves…and all he asks is utter servitude to Ammit’s unbiased judgement. Having also spent time as Khonshu’s “Fist of Vengeance”, Harrow sympathises with Steven’s plight and encourages him to resist the moon god’s demands, but Steven finds the idea of pre-judgement disturbing and is disgusted when Harrow likens Ammit’s genocidal methods, which includes the murder of innocent children, to the severing of a diseased limb. Harrow’s cane grants him unique insight into Steven’s mind and this eventually impacts his relationship with Layla; although he tries to avoid discussing his bloody past and downplay Harrow’s poisonous words, he’s ultimately forced to admit that he was there when her father died. However, Marc was trying to save him and, for his insubordination, was also left fatally wounded by his former commanding officer, Bushman, and forced to accept Khonshu’s bargain in order to survive. This, however, is merely scratching the surface of Marc’s emotional damage; after being shot and killed by Harrow, Marc finds himself in his interpretation of the Duat (the Egyptian afterlife and just one of many “intersectional panes” that await us after death; since the Duat is impossible to comprehend, Marc interprets it as a psychiatric hospital in a reflection of his fractured mind. There, Marc and Steven exist as separate beings under the care of their therapist, Doctor Harrow, who tries to convince them that they’ve simply created an elaborate fantasy for themselves based on their love of adventure film Tomb Buster and to cope with a childhood trauma. Initially, Marc is more inclined to believe that he’s crazy and simply imagining everything rather than accept that an anthropomorphic hippo, Taweret (Antonia Salib), is guiding them to the afterlife, but is forced to face the truth when he sees the vast sands of the Duat for himself. Marc’s relief that he’s dead rather than insane quickly turns to desperation when the adorable Taweret urges the two to reconcile their unbalanced heart before they read Aaru, the Field of Reeds, as they won’t be able to find eternal paradise otherwise. Despite Marc’s best efforts to convince Steven not to dig into his fractured memories and to simply take control of Taweret’s boat for themselves, Steven is distraught to learn that he’s simply an alternate personality Marc constructed as a child to shield himself from the emotional and physical abuse of his mother, Wendy (Fernanda Andrade).

Wendy was left devastated when Marc’s younger brother, Randall (Claudio Fabian Contreras), accidentally drowned to death while play-acting Tomb Buster alongside young Marc (Carlos Sanchez). She not only spitefully blamed Marc for it, punishing and condemning him, but constantly shunned him and took every opportunity to make him suffer despite the best efforts of his father, Elias (Rey Lucas). Terrified of Wendy’s reprehensible outbursts, Marc created the alternate identity of Steven Grant (Tomb Buster’s Indiana Jones-type hero) to give himself a normal, happy life to retreat to rather than suffer his mother’s abuse. Initially, Steven is overwhelmed by the truth (and the revelation that his mother has been both dead for some time and wasn’t the doting woman he believed she was) but his anger turns to sympathy after witnessing first-hand the immense guilt and abuse Marc had to suffer. He’s even more disturbed when he witnesses Khonshu’s manipulation of Marc; appearing before him when he was on the brink of suicide, Khonshu offered to make him into an instrument of vengeance and encouraged his self-deprecating view of himself as nothing more than a killer, an event that Steven interprets as the moon god simply taking advantage of Marc when he was at his most vulnerable. Finally having found common ground, Marc is so devastated when Steven is dragged from the boat by hostile spirits and turned to sand that he rejects the peace and tranquillity of the Field of Reeds to reunite with his “brother” in the Duat and return to life through the Gates of Osiris (and the intervention of Tawerert). Thanks to Layla freeing Khonshu from his prison, Moon Knight is restored to full health and power, with Marc and Steven sharing the body equally, rapidly switching personalities and between Moon Knight and Mr. Knight as a united force, allowing them to broker a new deal with the moon god. After Harrow kills the Ennead, frees Ammit, and has his followers conduct mass judgement, Khonshu battles his fellow God in a kaiju-like brawl across Cairo while Moon Knight tackles Harrow. He’s not alone in this endeavour, however; since it takes multiple avatars to seal Ammit, Layla reluctantly agree to temporarily become Taweret’s avatar, the Scarlet Scarab, gaining her own armour and wing-like blades to help fight Harrow. In the end, though, Harrow is summarily defeated following another of Steven’s blackouts and Moon Knight ultimately rejects Khonshu’s urging to kill Harrow and Ammit. However, while it seems as though Marc and Steven have finally found a peaceful co-existence and been freed from their service to the moon god, a mid-credits sequence shows that there was a third, far more violent personality all along when Khonshu has this psychopathic alter, Jake Lockley, execute the Ammit-possessed-Harrow.

The Summary:  
Moon Knight is definitely a different flavour for the MCU; while there’s many of the traditional elements we’ve come to expect, especially in the high-stakes, CGI-infused finale and Harrow’s abilities basically boiling down to shooting electrical bolts, the depiction of duality and conflict and suffering in its main character really helps it to stand out. These days, we’re used to the MCU dipping its toe into Norse mythology and cosmic deities so exploring the Egyptian side of things really added a unique slant to the show. Steven treats Egyptian culture with a great deal of respect and is dismayed that the once grandiose society has been reduced to trinkets, toys, and sweets; he showcases an intricate knowledge of Egyptian folklore and traditions, particularly when it comes to their burial techniques and beliefs of the afterlife, and Cairo and its pyramids and society take the spotlight from the third episode, lending themselves to some stunning visuals and parkour chases. I really enjoyed how the show went balls-in with the depiction of Egyptian Gods and lore as well; Khonshu is this terrifying, robed figure with a bird’s skull for a head, we’ve got anthropomorphic alligators and hippos, and eight of their most prominent holy figures were represented in the Ennead. The depiction of the Duat was incredibly striking as well; Black Panther (Coogler, 2018) delved into the afterlife through the Celestial Pane and Moon Knight runs with this concept, postulating that all religions and afterlifes not only exist but that they are also connected and that there is some kind of serenity (and judgement) awaiting us in death. This set the stage for the show’s biggest revelations but also delivered its most harrowing scene; seeing Steven find his inner strength and then turn to sand was absolutely heart-breaking and it was very rewarding (if incredibly easy) when Marc decided to go back for him rather than be at peace.

Make no mistake about it, Moon Knight is the Oscar Isaac show. Just as Split (Shyamalan, 2016) showcased James McAvoy’s incredible range and versatility as an actor, so too does Moon Knight allow Isaac to show exactly what he’s capable of. Everything from his accents, his body language, and his little physical quirks helps to differentiate his personalities, to the point where Steven is horrified when he sees himself on security camera footage and can tell, simply through the way he’s carrying himself and the look on his face, that it’s not “him”. Mirrors play an important role throughout the film; reflective surfaces are plentiful, especially when Stephen is suffering from hallucinations, and he and Marc communicate through them. It’s absolutely captivating watching Steven have an emotional breakdown while Marc is pleading for control of the body, and Marc also exhibits his own unhinged side when he’s in control. Since he’s more composed and aware of their condition and what’s going on, his priority is always to shield Steven (and Layla) to protect them, even if it means pushing them away, lashing out, or fighting for control. The banter and interplay between Steven and Marc is a real highlight and an absolute testament to Isaac’s acting ability; the two bicker and squabble like brothers over the body, tactics, and even girls, with Marc threatening to throw them off a cliff and then forcing Steven to punch himself right in the nose for kissing Layla! This kind of physical comedy was also showcased in the first episode, where Steven was physically unable to hand the scarab over to Harrow and was jerked around like a puppet before blacking out so Marc could take control of the situation. As fantastic as Isaac as at switching between his personalities, you really get a sense of camaraderie and affection for the two when they’re split into separate beings in the Duat. Watching them endure Dr. Harrow’s manipulations while going on a painful and emotional journey of self-discovery was a harrowing experience and learning just how vindictive and abusing Marc’s mother was really drove home how damaged he was by the whole experience. It’s thus extremely cathartic when they come together for the finale, effortlessly sharing the body and their knowledge and experience to be a more effective whole, even though the hints to their more destructive third personality were peppered throughout the show and hint towards a greater conflict in the future.

Moon Knight was also a visual highlight as well and I really liked how his costume was interpreted as a magical construct of bandages and that it granted him superhuman abilities; while different from the comics, Mr. Knight persona also looked brilliant and Isaac’s quirky movements and snarky behaviour in this guise helped to make it a real treat when it showed up. Unfortunately, both incarnations of Moon Knight are used quite sparingly; thanks to Steven and Marc’s blackouts, we rarely get to see much onscreen violence and are generally left with the chaotic aftermath, which I actually found to be quite an amusing and unique narrative device. It really helped to build the mystique around Moon Knight and this was reflected in the few fight scenes of his we did get where the character is so ruthless and nigh-unstoppable that it’s difficult to believe he’s at risk so limiting his appearances helped make him more special, like he was Steven’s “big gun” to bust out and solve a situation. Plus, there’s a decent amount of action on offer; we’ve got car chases, parkour, and some pretty violent scenes as bad guys are squashed and sliced up or people simply drop dead from Harrow’s power. Layla proves herself extremely competent in a combat situation, gunning down and taking out Harrow’s men and undead Egyptian priests and even trying to assassinate Harrow before she agrees to become the Scarlet Scarab. These abilities make her an even more effective combatant and she and Moon Knight are clearly positioned as equals for the finale, where Harrows proves incredibly formidable, though he’s presumably overwhelmed by the brutality of Jake Lockely. Furthermore, we get a big kaiju fight between Khonshu and Ammit; it can be presumed that the general public doesn’t actually see this since Khonshu and Harrow’s jackals were invisible to those not “touched” by the Gods, but if you told me back when Robert Downey Jr was bombing about in a suit of armour that we’d eventually see two Egyptian deities fighting in Cairo then I would’ve called you a liar! Still, as great as these bursts of action, suspense, and the occasional bit of horror are (particularly whenever Khonshu is on screen), the interpersonal drama is the heart of this story; Steven is a deeply troubled man, one who’s been allowed to live a normal, mundane life thanks to Marc shouldering all the pain and regret, and seeing his unsatisfied but still chirpy demeanour falter when he discovers the truth was pretty tragic. Yet, his moral resolve holds true; while he lashes out at Marc for lying to him, he quickly comforts his “brother” and is always pushing for them to do the right thing, whether it’s apologising for his violent actions with that trademark British politeness, begging Mark/Moon Knight not to kill, or out-right trying to remove them from violent situations when he’s in control.

While it was a bit disappointing that we didn’t get to see more of Moon Knight or his fight scenes and it was admittedly a little cliché reveal that Steven wasn’t the true personality, there was an awful lot to like here. I found Marc’s justification for sparing Harrow to be a little odd considering the body count he’s amassed in Khonshu’s name (the souls of whom literally return to haunt and attack him in the Duat); I have to agree with the moon god that Harrow and Ammit’s threat was too great to let him live while other, less dangerous criminals were killed but I understand the sentiment. Not only did it tie into Marc’s now far more productive outlook on life and refusal to blindly obey all of Khonshu’s commands, it also led nicely into showing just how deep the moon god’s deceptions and machinations grow with Jake’s reveal at the end. All throughout, I was captivated by Isaac’s deeply emotional and incredibly impressive performance; watching him jump from an awkward, confused milksop to a focused and grim mercenary was fascinated and he was perfectly supported by a beautiful and adventurous co-star and juxtaposed by a disturbing and intense villain. Harrow is the best type of bad guy, one who truly believes that he’s doing the right thing in his intention to end suffering and selfishness by weeding out impurities and evil, and he’s so committed to Ammit that he’s more than ready to accept her judgement when she decrees that his soul is also unbalanced and tainted from his actions. Having formally been pledged to Khonshu, he knows full well what the moon god is capable of but, while he condemns Khonshu’s temperament and deceptive nature, he is grateful for being set on his path towards what he perceives as the greater good and often regretful of the lives that have been sacrificed to achieve that. Composed, measured, and a true manipulator, Harrow doesn’t necessarily need to pose a physical threat to be dangerous since he has Ammit’s power, a slew of disciples, and his principles behind him and yet he’s still able to fend off Moon Knight and the Scarlet Scarab in the finale. Supporting characters like Khonshu and Taweret also help to make Moon Knight incredibly enjoyable; I loved how Khonshu was this disgraced outcast, how dead set he was on his particular brand of justice no matter the cost to his reputation or the psyches of his avatars, and he was perfectly paralleled by the delightful Taweret and the scathing condemnation of the Ennead. For telling an incredibly moving and complex story of duality and guilt, delivering one of the MCU’s most visually impressive and brutally efficient superheroes, and delving into Egypt’s colourful folklore, Moon Knight definitely made an impression on me and I really hope that we see Marc, Steven, Jake, Layla, and Khonshu show up again for another round to see what other dark secrets and surprises are lurking in Steven’s fractured mind.

My Rating:

Fantastic

Did you enjoy Moon Knight? What did you think to Oscar Isaac’s performance and the depiction of his multiple personalities? Which of the two personalities was your favourite and did you guess early on that Jake Lockley would be involved? What did you think to the Ennead, Khonshu, and the other aspects of Egyptian folklore? Were you impressed by Harrow’s threat or did you find him to be a bit underwhelming? What did you think to Moon Knight and Mr. Knight, their suits and abilities, and Layla’s transformation into the Scarlet Scarab? Would you like to see more from these characters, and are there any specific Moon Knight stories and villains you’d like to see in the future? Whatever your thoughts Moon Knight, leave them below or drop a comment on my social media.