It really shouldn’t be that way, yet somehowMoon Knightis managing to be theMCU’smost aesthetically striking production so far. As to why that’s even possible considering the series’ comparatively small budget versus some of its Marvel peers, it simply comes down to the unique identity its directors have been able to craft in no small part due to the superhero’s rare independence in this ever-connected universe.
So far most of Disney Plus’ exclusive Marvel series have not been afraid to showcase its influences, but at the same time, they often cave to their own desire or obligation to give fans the comic book or movie easter eggs that often justify watching the less exciting episodes of each new show, notMoon Knightthough. As the least known Marvel hero to get his own series so far, and even being the only one with no MCU record of any kind, Steven Grant and Marc Spector have been pulling their weight through sheer artistry and cinematography, and here’s how.
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Moon KnightDitches The Marvel Formula
When Joss Whedon was brought over to the DCEU one of the first things he did was completely change Zack Snyder’s color palette to something brighter and more colorful, thus resembling what he had envisioned in twoAvengersmovies, two films went on to define much of the MCU’s visual identity. The thing is thatMoon Knighthas nothing to gain from that established recipe because it’s unrelated to anything else,it doesn’t even have a place Marvel’s timeline, and most crucially, it also has nothing to lose by trying new things.
TakeShang-Chi and The Legend of The Ten Rings, a movie that for large chunks of its runtime caters more to the cinematic values of both old and new Hong Kong movies, only ditch all of that as it heads into a final act that cranks the CGI magic to 11 as a horde of interdimensional beings raid Ta Lo. Much like that film,Moon Knightis somewhat more realistic as Marc and Steven (suit on or off) are yet to fight any otherworldly creatures, besides the two jackals they’ve encountered; instead, most of the fighting during the first two episodes is not even visible to the audience.
Whereas the MCU is loud and flashy, this show is more subdued as even the Jackals are not visible to normal humans, andonly genuine zealots like Arthur Harrowor the knights themselves can see such creatures. While it’s true the show’s CGI has looked subpar at times, in all fairnessMoon Knight’strue strengthdoes not lie in big action sequences but instead in the way the lead-up or aftermath to them makes its protagonist or the audience feel.
Moon Knight’sfourth episode seemingly abandons those blackouts suffered by Steven and Marc, at least up until its surprising plot twist that also veers towards the unconventional as everything inside the asylum is meant to wow viewers not because of the way it looks, but due to how it makes the main character feel. The fact that the series features two episodes directed by Aaron Moorehead and Justin Benson,the same duo behindLoki’ssecond seasonspeaks volumes -Moon Knightis not an MCU series with horror influences, it’s a psychological thriller that happens to be set in Marvel’s universe.
Mirror, Mirror On The Wall
Even putting aside all the horror motifs that make the show such a refreshing watch among the rest of Marvel’s admittedly cookie-cutter approach,Moon Knightstill has plenty of visual flairto toss around and there are few better examples of that than Steven or Marc’s dialogue with one another through their own reflections. The series’ mirror play is also quite distinctive because it’s not necessarily conveying something negative, but rather the sole avenue Oscar Isaac’s character has to communicate with his other self.
TakeSpider-Man’sGreen Goblin for example, where Willem Dafoe is also fighting a lost war against his darkest impulses and mental impairment but in a case where there are defined roles for the good and bad personas.Moon Knightis different, as neither Steven or Marc are evil, and both simply exist within the boundaries of their own mind to carry out equally noble purposes.
The disembodiment that occurs in the mental hospital can only take place in Marc/Steven’s mind, it should be the first hint that it’s all some elaborate illusion. Nevertheless, the hospital’s hallways and Harrow’s office all have that same design philosophy that seems to be present in the entire show, it’s possible to express great meaning and a sense of dread with very little, a true staple of the horror genre.
Sure, Harrow’s mystical cane exudes the same dark purple magic as Agatha Harkness’ but that’s about as far as similarities go between the wayMoon Knightuses CGI when compared to the rest of the MCU.Moon Knightis truly an exploration of a tormented human mind and its mirrors are the only clue he has to find his way into the creative safe spaces of the MCU, eventually.
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