Chicago-based quartet Beach Bunny blew up before they even released an album because of their addictive hit “Prom Queen.” The infectious energy of that track was transferred over into their debut album, 2020’s Honeymoon, which opens with the jangly “Promises” and closes on what became their next hit, “Cloud 9.” Now, after some new bangers and even a Tegan & Sara collaboration, the band has announced their sophomore record, Emotional Creature, arriving July 22 on Mom+Pop Music. The lovestruck single “Fire Escape” is out now.
“We are always changing, growing, and adapting – it’s a deeply ingrained part of the human experience,” bandleader Lili Trifilio said about the album. “We strive to be stronger, trust we’ll grow smarter, and spend most of our lives reaching for comfort and happiness. Sometimes, life is stagnant, sometimes, life is difficult — but the wonderful part of being human is that we evolve and make the bleak moments beautiful — we find new ways to survive. Humans are emotional creatures and I wanted to capture that with this album in order to show how complex, sometimes tragic, and mostly wonderful the human experience can be.”
Emotional Creature was produced by Sean O’Keefe (Fall Out Boy, Motion City Soundtrack) at Chicago’s Shirk Studios. Check out the album artwork and tracklist below; listen to “Fire Escape” above.
Celebrity whisk(e)y is nothing new. There are tons of brands out there that borrow varying levels of influence from their heavy-hitting celebrity partners. Some bottles feel like a celeb simply slapped their names on a bottle (called white labeling) and cashed a check, while other famous folks really dive into the distilling and aging processes.
Unfortunately, A$AP Rocky’s new whisky brand landed falls squarely in the “cash grab” end of the spectrum. That’s not to say he’s totally hands off — it’s tough to discern exactly how involved he is — but it is to say that his new spirit… isn’t great.
Rocky’s new whisky — which dropped this week and is shipping out in April — is all about “disruptive packaging” and “contemporary consumer” vibes. You know, boilerplate PR messaging. While it’s never a good sign when those buzzwords are all over a press release for a whisky, there was some hope for this one. A$AP Rocky has a great eye for design, has been pushing hip-hop culture in new directions, and made a splash when he got behind Courvoisier Cognac a few years ago. He knows booze and the design of the bottle is eye-catching, which shows he’s thinking outside the box in a very standardized industry.
There are also two plastic cups attached to the bottle for easy drinking — which is also “disruptive.” Though, to be honest, probably not needed or as cool as someone at the brand seems to think they are. We digress! For now, let’s dive into what is actually in the bottle and see if it’s worth tracking down.
Also Read: The Top 5 UPROXX Bourbon Posts Of The Last Six Months
The juice in the bottle is a four-year-old Canadian whisky with an unpublished mash bill. The whisky, made in Ontario, rests in ex-bourbon barrels for those four years before it’s vatted and refilled into Mizunara casks from Japan for a final (short) maturation. That whisky is then proofed all the way down to 80 proof and bottled.
Tasting Notes:
There’s a hint of warm apple pie on the nose with a touch of brown spices and tart apple filling that gives way to a dark Caro Syrup. That ultra-sweet syrup drives the palate with the spice and apple disappearing from the taste, leaving you feeling like you just put a spoonful of brown sugar that was dipped in “whisky” in your mouth. There’s an echo of brown spice near the end and maybe a hint of green apple peels (I’m being super generous), but it’s the brown sugar/corn syrup that drives the short and watery finish towards a mostly blank conclusion.
The Bottle:
I’m not sure what to make of these plastic cups on the top and bottom of the bottle. It’s neat for about five seconds then you realize you’re drinking cheap and overly sweet whisky out of a plastic cup that’s not helping the flavor at all. Plus, you need to clean out the cups before you put them back on the bottle. Otherwise, there’ll be a sticky mess.
This really feels like it was a good idea when it came out of someone’s mouth and then not really thought all the way through. There’s no way these plastic cups aren’t going straight in the trash or, worse, just thrown on the street in the liquor store parking lot.
Bottom Line:
Between the overly sweet vibe of this whisky and the portable whisky cups, this really feels like it’s marketed towards high school kids. It’s so sweet that it’s hard to find any redeeming quality here. It’s the first bottle in years that I’ll likely just pour down the drain and then put in two different recycling garbage cans (thanks for the extra work, Rocky!). Then, to be honest, I’ll probably never think about this bottle again.
The monoculture is dead — or at least dying — so culture-spanning moments that unite the whole world in awe, outrage, or hilarity are rare. Will Smith slapping Chris Rock at the Oscars certainly qualifies; look at us, still discussing this thing two days later, even with our pandemic-shortened attention spans. And whenever there’s such a moment that demands our attention (and our takes), one question arises to loom over the proceedings, a question that demands an answer, no matter how solemn, silly, irreverent, or irrelevant.
“WHERE’S JA!?”
That’s right. Ever since the joke was first uttered by Dave Chappelle during his 2004 special For What It’s Worth, it has become inevitable that when a current event has the world’s attention, people want — nay, need — to know what rapper Ja Rule is thinking. The bit, centered around the absurdity of an MTV News segment that cut away from September 11 attack coverage to get Ja Rule’s take, has since become an ingrained meme on social media. So, when Will Smith stomped his way on stage and shocked the world, there was just one thing fans wanted to know.
Fortunately, we can all breathe easily again. Ja, who knows his role in all of this, was more than game to oblige our curiosity, joking on Twitter that “Slapping season is OFFICIALLY in session.” A day later, he followed up with a countdown to “All rappers wit the Will slap Rock bars.”
(Bridgerton spoilers, book and TV show, will be found below.)
Book-to-screen adaptations are rarely perfect, which means that eventually, fans are going to be left wondering why some of their favorite written subplots didn’t get the time on-air that they deserved. And, when you’re dealing with a show like Bridgerton — Netflix’s massively popular Regency romance series — the gems left on the cutting room floor build up as fast as gossip seems to spread around the London ton.
In season two, the show diverted from the books in major ways, most of which benefitted the overall storytelling, even if the pacing of the season felt a bit off. If you just tuned in to see Jonathan Bailey and Simone Ashley sensually smolder at one another during choreographed dance sequences, the differences between season two and its book counterpart probably don’t bother you too much. But, if you’re a fan of the books and you’re wondering which plot lines didn’t make the leap on-screen, we’ve rounded up some of the most obvious changes, so (if you don’t mind spoilers) you can prepare yourself. (Or, just revisit to make sure you’re not losing your mind and that breast-suckling moment actually did happen on the page.)
Here are the storylines that changed the most so that Bridgerton season two could be the delicious angst-filled romp it is now.
Netflix
That Love Triangle
Love triangles are notoriously messy and the perfect excuse for writers to string fans along in the hopes of seeing their favored OTP (one true pairing) get their happy ending. Knowing this, it makes sense that Bridgerton chose to create one in order to drive some of season two’s most climactic moments. In the books, Edwina is in fact chosen as the season’s “diamond,” and Anthony Bridgerton singles her out as the woman he wishes to marry — because she’s beautiful, well-mannered, and holds absolutely no attraction for him. Edwina, for her part, plays along, going on a couple of chaperoned dates with the viscount but clearly lacking any real interest in him — she prefers men who like to read, duh. When the bee incident, which we’ll get to in a minute, occurs, she’s none too heartbroken over Anthony’s interest in her sister Kate and she moves on quite quickly. But, in the show, Anthony takes things a bit too far, proposing marriage to a clearly besotted Edwina. They even get to the altar before the youngest Sharma wises up and realizes her betrothed has the hots for her sister — a new development that causes a temporary rift in their relationship.
The choice to mine a love triangle from the thread-bare connection between Edwina and Anthony in the books was a controversial one, considering it paints Kate in a fairly bad light — what kind of sister has secret rendezvous with her sibling’s betrothed in one scene, then orders him to marry the girl, knowing he doesn’t love her, in the next? But, the sexual tension and the rewarding moment when Edwina finally feels empowered enough to stand up for herself against her overbearing sister felt like a worthy trade-off.
Netflix
Anthony’s Issues
If Bridgerton season two taught us anything it’s that a man will literally do anything — even marry the sister of the woman he’s in love with — instead of just, oh, going to therapy? Anthony Bridgerton had some major daddy issues to deal with in both the book and the TV show, but those manifested in different ways depending on the medium. In the book, Anthony didn’t witness his father’s death, but he did feel the pressure of inheriting his title and his reputation. It’s that last notion — the idea that he could never live to be better than the man who raised him — that convinced Anthony he wouldn’t make it past his 38th birthday, the age at which his father passed and impending mortality, not necessarily the heartbreak of losing someone, is why he’s so against marrying for love. In comparison, the show places a greater emphasis on Anthony’s past relationship with an opera singer and his terrible responsibility of keeping the family afloat when his father’s death sent his mother into a depression. Both versions are very, very sad, but we think witnessing your dad die — and seeing how devastating that was for the woman who loved him — is probably a better excuse for not wanting to get hitched.
Netflix
Thee Bee Scene
Speaking of which, in the books, Anthony only learns of his father’s death after the fact. But, in season two of Bridgerton, Anthony watches as his dad dies from anaphylactic shock after a bee sting. The whole event is disturbing and clearly traumatic for the young man who chooses to wall-in his emotions rather than facing them head on. That initial bee sting makes more of an impact on the show, but the one that comes later, as Anthony and Kate are alone in the garden, is the one that got a bit of a makeover on-screen. Before bickering and hunting and gazing-longingly at each other all day, Anthony and Kate have a little heart-to-heart in the Bridgerton family garden. It’s here that Kate gets stung be an errant bee, throwing Anthony into a panic as he assumes, like his father, Kate will now die. She manages to calm him enough to convince him she’s fine — though some breast action is involved here too — but this scene was a bit sillier and, well, sexier, in the book. The garden bit is the same as is the bee sting, but in the book, Anthony’s panic-stricken brain decides the only course of action to save the life of the woman he loves is to literally suck the venom from the sting site … which is just above her cleavage. Naturally, as Kate demands he stop, both of their mothers (along with Lady Featherington) stumble upon the scene which, in a twist that parallel’s Daphne’s predicament from season one, means Anthony is forced to propose marriage to Kate or have both their reputations ruined. We can’t say whether this particular change made the show’s storyline better simply because everything that happens after this is completely altered from the book, but it’s an interesting switch all the same.
Netflix
The Sharmas
One major overhaul from book to screen that definitely plays well this season is the choice to change the backstory, and ethnicity of the show’s newest additions. In the book, the Sharmas were actually the Sheffields, and they hailed from the English countryside. Though the dynamics were similar — Kate and Edwina were half sisters and Mary was Kate’s adoptive mother — that bond feels more fleshed out on the show, in large part because we get to see the love they have for each other manifest in culturally-specific ways. From nicknames to pre-wedding ceremonies and so many great jokes about the lacking quality of English tea, the series highlights the heritage of the Sharmas that feels in line with its continued commitment to diversity and inclusion.
Netflix
The Lady Whistledown Reveal
Penelope Featherington has yet to have a sex scene on this show and yet, she’s probably Bridgerton‘s naughtiest character. In season one, we discovered she was operating under the penname, Lady Whistledown, which means every bit of salacious gossip and rumor printed within the pages of that menacing pamphlet was written by her hand. So cheeky. In season two though, Penelope is forced to reckon with the consequences of her column, both practically and personally. She must find new business partners, sneakier ways of delivering the mansucripts to print, and, in order to protect her friend Eloise, she eventually does the unthinkable by printing a bit of gossip about the rebellious Bridgerton that scandalizes her family. It’s all a mess, and none of it is pulled from the book. Why? Because readers don’t even glean Lady Whistledown’s true nature until halfway through the series, in book four. Whether the show is setting up Penelope to be a villain or building a truly epic redemption arc, we’re still not sure, but it’s all very watchable.
Netflix
Kate’s Accident
Our accident-prone heroine does get hurt in both the book and the show, albeit in different ways that push Anthony to the brink. In the book, Kate’s riding in a carriage that overturns, pinning her underneath it. She’s fine, except for a broken leg, and the whole incident forces the already-married couple (remember the bee sting scandal?) to realize their true feelings for one another. On the show, Kate is left reeling from her night with Lord Bridgerton and decides the best way to clear her head is with a quick jaunt in the rain, on horseback. Anthony comes calling and, realizing she’s not in, chases her down in time to watch as she fails to clear a hedge, falls off her horse, and lands with a fatal-sounding thud to the head. He carries her home, argues with the attending physicians, and spends a week on edge as everyone waits for Kate to wake up. The difference between the two scenes lies, other than Jonathan Bailey’s terrific performance, is that the guilt Anthony feels over Kate’s accident leads to a conversation with his mother than mends a rift between them and heals something within Anthony regarding his father’s passing that he’d held onto for far too long.
Netflix
And Her Weird Thing With Thunderstorms
Did Kate have a phobia of thunderstorms in the books? Yes. Did it lead to a particular steamy scene in the Bridgerton family library that ended with Kate and Anthony huddled together under a desk? Also yes, but even though Kate’s traumatic backstory — her mother’s death was gruesome and Kate witnessed it all during a terrible thunderstorm when she was young — is something that helped her bond with Anthony in the books, it didn’t feel like we lost anything when we lost this one.
Netflix
Edwina’s Happily Ever After
Even though Edwina felt decidedly more assertive in Bridgerton season two once she wised up to the romance between her sister and her intended, we were sad that her own happily ever after got nixed from the show. In the book, after being none-too-heartbroken over Kate and Anthony’s marriage, Edwina stuns the town by being courted by a bookworm, finding love with a man who likes to read almost as much as she does. Honestly, good for her.
‘Bridgerton’ season two is currently streaming on Netflix
Summerfest will make its return this summer in Milwaukee, Wisconsin. The first iteration of the festival since COVID, Summerfest’s 2022 line-up boasts over 100 headliners.
Summerfest spans three weekends in June and July, with festivities taking place over the course of nine non-consecutive days. Among the headliners during the June 23-25 run are Gabby Barrett, Justin Bieber, Lil Wayne, and Wu-Tang Clan. Willow, GAYLE, 2 Chainz, Machine Gun Kelly, and Halsey will headline the weekend of June 30-July 2. During the final weekend, July 7-9. Charli XCX, Cordae, Portugal The Man, and Jojo will headline.
“It feels great to announce our highly anticipated lineup and have the festival back in its regular summer timeframe for 2022,” said Don Smiley, the president and CEO of Milwaukee World Festival, in a statement. “From Justin Bieber, Halsey, Backstreet Boys, and a special Summerfest co-headlining show with Lil Wayne, Wiz Khalifa, and Wu-Tang Clan, to John Fogerty, Steve Aoki, Halestorm, and others, it would be difficult to find a more diverse lineup anywhere. Make plans to join us for Summerfest this June, one of the most affordable music festivals in the world, and home to over 1,000 artists performing live over the nine-day run.”
Fans can currently purchase “Level Up” tickets, allowing them access to the Level Up Deck located in the Miller Lite Oasis, overlooking the stage. General on-sale for the festival begins Friday, April 8.
Check out the full line-up below.
Courtesy of Summerfest
Some of the artists mentioned are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Compton rapper Buddy’s new album, Superghetto, is out now. To celebrate and promote its release, he and fellow SoCal artist Blxst stopped by The Late Show to perform their standout from the new project, “Wait Too Long,” looking cooler than a fan in matching black-on-black ensembles.
Buddy opens the performance lounging on an armchair with a telephone — a nifty callback to the song’s music video — as Blxst croons the catchy chorus backed by a mellow groove from the duo’s band.
Superghetto is Buddy’s first new album since his 2018 debut, Harlan & Alondra. The album, which features Ari Lennox, Blxst, Tinashe, and T-Pain, clocks in at a smooth 10 tracks and features “Black 2,” “Hoochie Mama,” and “Wait Too Long” as singles.
As fans awaited the new album, Buddy delivered a string of solid guest appearances on projects like Dreamville’s Revenge Of The Dreamers III, which landed him his first platinum plaque, and Guapdad 4000’s debut album, Dior Deposits, as well as Tinashe’s latest on the single “Pasadena.” Buddy also teamed up with fellow LA area artist Kent Jamz to release a joint mixtape, Janktape, Vol. 1, spawning the single “Bad Boys.”
Watch Buddy and Blxst perform “Wait Too Long” on The Tonight Show Starring Jimmy Fallon above.
It’s been a while since Warpaint’s last album, Heads Up, which came out in 2016. Now, though, they have a new one on the way, as Radiate Like This is set for May. They announced that in January and shared the lead single “Champion,” and now they’ve dropped another new song from the LP, “Stevie.”
Warpaint says of the single, “‘Stevie’ is a love song, pure and true. Sincere as it comes with a little bit of Freak. A cosmic celebration of the thing we all look for in life. And our contribution to one of the most beloved song genres.”
The band’s Theresa “TT” Wayman previously said of recording the new album, “We got really lucky because the foundation of what we’ve recorded was recorded together. It would feel really disjointed if we had to write it from scratch from afar. It’s actually been amazing that we’ve been separate and had time to record the top layers and we can get even more considered with them. It’s really helping us that there are no time pressures and money constraints. […] I’ve been thinking a lot about lyrics and so I’ve been thinking about [Bob] Dylan a lot and how he strings a story together. He finds these perfect ways to say something that is so normal, it’s something that everyone experiences, but he unlocks this great metaphor for it.”
Listen to “Stevie” above.
Radiate Like This is out 5/6 via Virgin. Pre-order it here.
That Paul Rudd, what a stinker. Beginning in 2004, nearly every time the ageless Wet Hot American Summer and Ant-Man star would appear on one of Conan O Brien‘s many late-night talk shows, he would set up a clip from his new TV series or movie and end up playing the same scene from Mac and Me. It somehow never got old. It was just as funny in 2021, when he crashed Bill Hader’s interview near the end of Conan’s TBS run, as it was in 2004, when he was promoting the Friends series finale.
The Mac and Me bait and switch even works in podcast form, as Rudd proved in the most recent episode of Conan’s podcast, Conan O’Brien Needs a Friend. It comes out of nowhere and catches Conan (and the listener) off guard. The set up begins with Rudd discussing a new series for Audible he’s been creating with Party Down co-creator Dan Etheridge. “I’ve been working on it and recording it with my friends, which has been great,” he says before listing everyone who’s involved. Rudd then explains the “sweet and funny” premise before asking if he can play a snippet from one of the episodes.
I think you can guess what happens next.
NOT PAUL RUDD PLAYING THE “MAC AND ME” CLIP ON CONAN O’BRIEN’S PODCAST i can’t with him pic.twitter.com/gxILR6teEO
— marti ⎊ ceo of paul rudd ⁷✧ (@IR0NLANG) March 28, 2022
“Oh for Christ’s sake,” Conan exclaims. “You can’t do that on a podcast.” I disagree. Also, everything Rudd said about the Audible series with Adam Scott and Ken Marino? It’s all fake. That’s commitment to the bit from the sexiest man alive.
The Oscars have always been a part of my life in a way where I don’t even remember when it all began. I don’t have any memories of the first ceremony I watched. My only Oscar memories are moments including Titanic sweeping, Halle Berry winning, Michelle Williams’ yellow dress with a bold red lip, and Martin Scorsese finally getting his due. In my family, watching the Oscars was a ritual on par with celebrations on major holidays. The glamour and the kerfuffle of the Oscars are, of course, the easiest things to enjoy about the awards show that has been dubbed the insufferable “Hollywood’s biggest night.” But I fell in love with the Oscars because the Oscars made me fall in love with cinema. The Oscars ceremony was once an expected but genuine variety show that was, at its heart, a love letter to cinema, a theme that’s since been abandoned in favor of high ratings and satisfaction from fans of Marvel movies, Zack Snyder’s filmography, and the celebrities most likely to go viral, as evidenced by the insulting 94th Academy Awards on Sunday night.
Even the worst Oscar broadcasts such as last year’s Steven Soderbergh-directed intimate affair (it’s looking way more charming in retrospect) are a celebration of a remarkable medium that involves an unfathomable amount of teamwork. Traditionally, the Oscars honored not just the celebrities in the industry, but the unknowns who work tirelessly (and for much less money than the celebrities, no doubt) to make a director’s vision happen or to make an actor’s transformation come to life.
The Oscars the way they used to be – that is, hosted by Billy Crystal on a big, towering stage with dramatic, educational if sometimes too technical and overlong explainers on the significance of cinema and the unsung creators who make films possible – made me the person I am now: an insufferable pop culture-obsessed person who has somehow made a living out of blogging about movies. I became invested in what I do as a direct result of the Oscars. Learning about how movies were made beyond director and actor ingrained in me from a young age the huge mistake of choosing to make movies my career.
Now, the Oscars are a popularity show instead of a celebration of an art form and an ode to the plethora of exhaustive work that non-celebrities do to make films possible. According to the Oscars of today, films are made by celebrities who just happen to show up in hair and makeup and costumes that appeared on their bodies out of nowhere. According to the Oscars of today, directors simply say “lights, camera, action!” and “cut!” and then the movie magically puts itself together in the right order. With most creative and technical categories edited out of the broadcast, the Oscars draw an insulting line between the value of celebrity and crew and even insult the celebrities along the way. The 94th Academy Awards broadcast suggests that some of the most essential elements to filmmaking such as editing, sound, and production design are not worthy of airtime, but reducing best-supporting actress nominee and modern acting legend Kirsten Dunst to an insulting bit is.
The first Academy Awards ceremony occurred in 1929 (it was not broadcast anywhere). Louis B. Mayer established the Academy of Motion Picture Arts and Sciences and its awards as a way to honor the achievements in a relatively new medium, and to unite the five branches of the industry: actors, directors, producers, technicians, and writers. In 2022, it is farther than ever from its original intention. Over the past several decades, the Oscars have evolved from an informative if shallow affair to a completely shallow PR opportunity. Mayer’s vision has morphed into a three-plus hour commercial for Disney content and a showcase for its most desirable stars.
There are many examples of this from Sunday night’s debacle, the most disturbing being a pre-recorded Chris Evans congratulating best-supporting actor winner Troy Kotsur on his win before presenting a trailer for Disney’sLightyear, in theaters this summer. Additionally, the show wasted time that could have been saved for presenting creative and technical awards on the “28th anniversary” of Pulp Fiction for absolutely no other reason than the fact that cast reunions are trendy right now. The ceremony also included a performance of the popular song “We Don’t Talk About Bruno” from Disney’s Encanto, despite not being nominated for best original song.
Toward the end of the night, Kevin Costner – presenting the award for best director because Yellowstone is popular right now – popped off about the miracle of directing motion pictures with the story of a four-hour cowboy film he saw when he was seven years old.
“You can change a mind, you can change a trajectory of a life, of a career,” he said. “You can capture a heart. But you can’t do it alone.”
Costner’s speech was a traditional, boring, self-important, and dramatic tribute that went on too long, but it was the best thing about the night because that’s what the Oscars are for.
The first reviews are in for Moon Knight, Marvel’s latest live-action series for Disney+, and there’s a clear consensus across the board: Oscar Isaac is putting it up all on the screen in his performance as the mystical hero. Unlike the first batch of Marvel shows, which continued stories started in the films, Moon Knight is the first Disney+ series to fully introduce a new character to the MCU. While that’s exciting in its own right, another common theme in the reviews is that Moon Knight is an easy entry point for the MCU-curious. If you just want to see Isaac and his nemesis played by Ethan Hawke go at it, you don’t need to be familiar with any of the 20+ series and films that came before Moon Knight. It’s a rarity for Marvel these days.
So much of Moon Knight rests on Isaac’s shoulders as he, by sheer force of will, transforms what could have easily been a very confusing, disjointed show into something truly remarkable. In other words: Oscar Isaac is going for it. And, at least in the first four episodes, he doesn’t just go for it, he gets there.
It often feels like a throwback to Marvel’s classic approach to reworking lower profile comic book characters into household names meant to become key players within a larger cinematic universe. That relative change of pace is one of the things that Moon Knight has going for it compared to some of Marvel’s other recent series that tend to make more sense the more of the MCU you’ve consumed. But Moon Knight’s also a foray into the fraught world of character studies where bold acting and directorial choices jump out…
Here, Marvel’s attempting to do something it hasn’t lately done: Break a new character through the medium of TV. And “Moon Knight,” an adventurous limited series, suggests a way forward for a content-creation engine that’s come to feel overwhelming. There’s a freshness to it that’s enticing even for those outside the fandom.
It’s good that this show not only has these two stars but also uses them to their fullest because, as mentioned, Moon Knight isn’t widely known and the series itself is holding back a lot of information for the time being. That being said, hardcore Moon Knight fans out there who never thought this day would arrive might feel like collapsing at the sight of this crazed champion presented fully in front of their eyes. It’s also the perfect show to slip into if you’re an MCU casual, as it does keep the rest of the long-running story at arm’s length.
Marvel sent the first four episodes of Moon Knight to critics, and it says something that I burned through them all in one go and can’t wait to see what happens next. Moon Knight is weird, wild and so much fun.
The highest compliment I can give Moon Knight is that it often feels more like The Mummy than The Avengers.
While most Moon Knight reviews were generally positive, there were some who weren’t so sold on the MCU’s newest hero or Marvel’s continued struggle to find its groove on Disney+ series even with Oscar Isaac going for it whole hog:
The show’s pleasure comes from watching Isaac flex his action muscles, do intentionally silly accents and exhibit a flair for goofy comedy. But after watching four of the series’ six (45-minute-ish) episodes, I think it’s clear that the acting exercise stands out more than masked vigilante Moon Knight, his pair of alter egos or the story’s crash course in ancient Egyptian spirituality.
Given the character’s long history of being more exciting in theory than reality — and given that none of the previous MCU shows have been at their best in their finales — my hopes aren’t too high for the concluding chapters. There are many interesting aspects to Moon Knight, but neither the comic books nor this TV show named for him quite know what to do with them all.
“Moon Knight” is vaguely different, has no real connections to the Marvel Cinematic Universe, and will be hailed by many as a deeply original chapter in the MCU. But when you look outside that limited worldview and recognize all the aforementioned touchstones it’s drawing from, “Moon Knight” is initially thought-provoking, but hardly the game changer that many devout fanboys will likely declare it.
Moon Knight premieres March 30 on Disney+ with new episodes streaming on Wednesdays.
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