I blogged a fair amount about Legion the TV show when it was running but have hardly thought about it since it ended. Since its existence randomly popped into my head this morning, I want to write down the following opinion, while I’ve had for a while but never blogged about:
That final scene of Season 2, which I wrote a long rant about when I first saw it? That scene is really good. I’ve re-watched it a number of times and it’s … one of the most raw, powerful things I’ve seen on a TV or film screen. (I don’t watch many TV shows or movies, so maybe that isn’t saying much.)
It’s not like I’ve changed my mind about the qualities that my rant was about. The scene does in fact reveal a bizarre, apparently very ignorant view of mental illness that I’m shocked could make it onto network TV in 2018. Nothing in the final season undoes that, and in fact the writers drag their heels in further there.
But the scene is so powerful in part because the writers don’t seem in control of what they’re doing. It’s like they’ve summoned a demon by accident, and are standing around, gawking awkwardly at the pentagram they drew and mumbling “we didn’t think it would work … ” As a twist at the end of the story’s middle act, the scene is meant to be exciting in a standard-issue, screenwriting-textbook way, but it ends up being a very different kind of exciting. The car has gone off the road; no one is driving it anymore; nightmare energies have been called up that no one had expected and no one can predict.
Legion is worst at portraying the perspectives that are supposed to be its moral center. Its implicit moral worldview is naive, childlike, a “good cluster morality” in which you can read someone’s quality as a person off of incidental properties of their appearance, diction, and deportment. Syd, the purported hero in the end, is a terribly written character with little to do but stand around delivering carefully worded didactic speeches with impeccable poise. But the “bad” people are allowed to be flawed, impulsive, rough-edged (or just rough), traumatized, messed-up, irreverent, cynical.
The show seems to think we’ll just read all these things as proxies for “bad,” which is terrible. Emotionally, it makes me want to “side with” these characters against the writers who created them. I want to grab their stuffy lapels and yell “Lenny deserved better, dammit!” … for example. And, almost paradoxically, this resistant reading of the show is interesting and emotionally involving enough to make the show worth watching. Like Andrew Hussie, the writers are a villainous presence, but they lack Hussie’s self-awareness and metafictional bent – which makes them better villains. You really do want to grab their labels and yell various things, because it seems plausible that they might not actually know.
Anyway, that one scene is the apex of all this, which nothing in the pretty-good-but-underwhelming final season can match, and whose power that final season cements by confirming the writers indeed had no idea what to do with the demon they had summoned. Through their ineptitude, they become better villains in their own story than any of the textual ones. By seeming not to recognize to the very real-looking pain and trauma they thrust in our faces, they make that pain and trauma feel all the more real – for in real life, one does sometimes feel rejected not just by other people but indeed by “the writers,” the universe, the moral law itself.


