WCSU

Glen Weldon

Warning: This piece discusses events in the series finale of Legion.

When it began, three seasons ago, Legion was a show about a man who possessed the power of telepathy.

By the time it ended last night, Legion had become a show about the power of empathy.

"What if superheroes — but evil?"

It's a bold premise that seems fresh, even astonishing ... if the year is 1982.

That's when writer Alan Moore and various artists took the '50s bog-standard British superhero Marvelman (later, Miracleman) and reimagined him as a superpowered despot who enslaves humanity.

"Well, what if superheroes — but corrupt?"

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SCOTT SIMON, HOST:

I have seen the new The Lion King. Pop Culture Happy Hour is devoting a whole show to it this week, so I won't get into a full review here, but just know that, when it comes to one specific aspect of the new film — the one aspect about which I cared most keenly, most deeply, most intensely — the news is not senSAAYtional. It's anything but, in fact.

"HEAR ME, X-MEN! NO LONGER am I the woman you KNEW! I AM FIRE! I AM LIFE INCARNATE! Now and FOREVER ... I AM PHOENIX!"

That's how the character of Jean Grey, powerful telekinetic telepath and charter member of the X-Men, reintroduced herself to her teammates in 1976's Uncanny X-Men #101, shortly after she was seemingly killed by a solar flare while on a space mission.

Is it weird to keep asserting that Summer Movie Season starts Memorial Day weekend, when Avengers: Endgame, the ultimate summer movie, and also the year's (the decade's! the century's!) biggest blockbuster, opened last month?

Maybe. Sure. Who cares?

"Summer movie" is a term, after all, that has taken on a negative connotation, as it tends to be deployed by those looking to sniffily dismiss the whole crop of films that come out in the months without an R. See also: "popcorn movies," "comic-book movies."

We've recapped the eighth and final season of Game of Thrones. Spoilers, of course, abound.

I mean ... sure?

I am prepared to die on the ashy hill of They Didn't Lay The Necessary Track To Justify Daenerys' Heel-Turn, but that whole contretemps seems soooo last week. I've made my peace with it and am prepared to dissect the show that they made, not the one we expected/wanted them to.

We're recapping the eighth and final season of Game of Thrones; look for these recaps first thing on Monday mornings. Spoilers, of course, abound.

Dany got a raw deal.

Narratively speaking, Game of Thrones did the Mother of Dragons dirty, there's no two ways around it.

We're recapping the eighth and final season of Game of Thrones; look for these recaps first thing on Monday mornings. Spoilers, of course, abound.

After great pain, a formal feeling comes.

That's a quote from Lady Emily of House Dickinson, who might as well have been describing this episode, which probably couldn't help but feel anticlimactic and setty-uppy, coming as it does in the narrative gully that naturally stretches between last week's exultantly fire-and-bloody spectacle and next week's likely disastrous siege of King's Landing.

We're recapping the eighth and final season of Game of Thrones; look for these recaps first thing on Monday mornings. Spoilers, of course, abound.

We're recapping the eighth and final season of Game of Thrones; look for these recaps first thing on Monday mornings. Spoilers, of course, abound.

Welcome back, everyone. It's been two years since last we gathered around the flickering electronic hearth to feast our eyes on this world, and these characters, many of whom – I'm thinking here of the dragons and the ice-zombies mostly – would happily feast on our eyes. Because Winter is Here, and it's shaping up to be a long, cruel one, and Sansa didn't pack away enough provisions for everyone.

In 2014, New Zealand co-directors/co-writers Taika Waititi and Jemaine Clement released What We Do In The Shadows, a hilarious, shambling-yet-unerringly-precise mockumentary about a group of vampires sharing a house in modern-day Wellington, New Zealand.

There are several moments in Captain Marvel — most of them intimate two-hander scenes between Agent Nick Fury (a digitally de-aged Samuel L. Jackson) and the main character (Brie Larson) — where the performances click, the comic chemistry catalyzes, the dialogue buzzes and everything in this latest million-dollar superhero blockbuster seems downright ... breezy.

In 2014 The LEGO Movie quickly and efficiently master-built itself in theaters (and in the hearts of critics and audiences alike), surprising anyone expecting a cynical toy-commercial-as-kids'-film by instead delivering a visually inventive, joke-dense and emotionally resonant movie studded with charming performances from a voice cast of beloved comic actors.

... That was also, in the process, a cynical toy-commercial-as-kids'-film.

"Critique is so limiting and emotionally draining." — Morf

Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he's right about the act of criticism. It's reductive by nature, and it can take a psychic toll on the critic, who, if they're any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.

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