Moon Knight ends with a fascinating, worthwhile failure

polygon.com:

Adapting Moon Knight could not have been an easy task. 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. 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. And all that is before you start to deal with the already-complex nature of most comic book continuity. The thought of turning all that into six brisk episodes of coherent television boggles the mind. But while shaky throughout, Moon Knight pulled it off, mostly.

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. 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. 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.

The result is a series that ultimately feels rushed, like it needed more time. The finale, “Gods and Monsters,” abruptly ends with huge status quo shifts. 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