Yet for all its intelligent design, the episode still feels as stuck in limbo as its characters. At no point are we in any doubt as to the nature of the situation: The devil with the yellow eyes has used David’s telepathic brain to construct a mental prison for him and his friends. We know they’re not crazy. We know their therapist is really their captor. We know the asylum in which they’ve been stowed is a simulacrum of the one David escaped in the pilot. We even know some of the dialogue they’re speaking, since it’s a deliberate repeat from scenes in that first episode. The only mystery is how they’ll break free, and since there are two episodes to go, that they will break free is a given. So it doesn’t take long for the novelty to wear off — and for the same weightless unreality that a dimly cognizant Syd complains to Dr. Busker about to begin taking hold of the viewer as well. Given the momentum the show had built as David gained control of his powers and then had them violently seized by his nemesis, devoting a full episode to this sense of stasis is a real shame.
It could be worse, however, at least if the ways in which the show really cuts loose in this episode are any indication. In a gravely miscalculated musical interlude, the devil-Lenny cavorts around David’s memories in a leotard and fishnets to the tune of Nina Simone’s “Feeling Good.” The song’s recent fate as a weight-loss jingle was bad enough, but to see it reduced to the soundtrack for a psychic parasite’s bump-and-grind — occasionally shot in silhouette against monochromatic red, like a James Bond title sequence — is somehow even more dispiriting, doubly so given the showrunner Noah Hawley’s impeccable use of found music in his other FX vehicle, “Fargo.” Like the easy allegory of the entire asylum-limbo story line, it’s a case of infatuation with form impeding function.
I reviewed last week’s Legion for the New York Times. More on this show soon.