The Best TV Shows You’re Probably Not Watching: The Leftovers (HBO)
For a show about the inexplicable disappearance of 140 million people in a rapture-esque phenomenon, HBO’s The Leftovers is achingly real.
Created by Lost showrunner Damon Lindelof and author Tom Perrotta (who penned the novel of the same name), The Leftovers explores the various facets of grief, the human response to loss and the existential implications of being left behind. The show articulates these ruminations on anguish through artfully-crafted cinematography, thought-provoking dialogue and impeccable acting.
The series has been lauded by critics, with outlets such as Hitflix and Vox proclaiming that it is the best drama on television. However, critical adoration — and an impressive 98 per cent rating on review aggregator Rotten Tomatoes — has not translated into remarkable viewership. Ratings for the show have been underwhelming, with less than a million viewers tuning in per episode. Now in its third season, The Leftovers continues to accommodate a niche audience while suffering from little promotional coverage.
The series’ poor ratings can be attributed to its bleak premise. The Leftovers is set three years after the “Sudden Departure”, a global event that resulted in the simultaneous disappearance of two per cent of the world’s population. The show dissects the aftermath of the unexplained disappearances, such as the rise of cult-like movements, the establishment of post-Departure government organizations and the coping mechanisms of those who experienced inconceivable grief. The Sudden Departure is presented as something that was completely random and the aftermath of the event sees those left behind struggling to comprehend the purposelessness of an occurrence of such magnitude, while also attempting to attribute meaning to where there may very well be none.
The narrative focuses on the ruptured family of Kevin Garvey (Justin Theroux), the chief of police in the fictional town of Mapleton, New York. As Kevin tries desperately grasping at the slightest sign of normality in a post-Departure world, he clashes with the Guilty Remnant, a cult of chain-smoking prophets whose modus operandi is to serve as reminders of the meaninglessness of existence. The Leftovers also follows the exploits of Matt Jamison (Christopher Eccleston), a devout reverend wrestling with the idea that he was not “chosen”, and his sister Nora Durst (Carrie Coon), a mournful woman who lost her entire family in the Departure.
To many, the first season’s tone is almost unbearably heavy. However, those who stick with The Leftovers will find that the sophomore entry allows the series to truly blossom. In the second season, the characters move to Jarden, Texas, an Eden-like town that is notable for its lack of disappearances during the Departure. At this point, The Leftover transcends into masterpiece territory by expanding its mythology, accepting its quirkier elements and exploring the theme of rebuilding.
While the series is not impervious to fallacies — the first season encounters pacing issues and many plot mysteries go unresolved — the show’s penchant for well-earned moments of startling beauty and pure human connection should not be skipped over. While the entire cast does an admirable job, the true highlight is Coon, who instills a biting edge to Nora’s grief-stricken exterior. Also, composer Max Richter’s haunting score is almost a character in itself, with the piano notes being comparable to an apocalyptic lullaby.
The series’ greatest asset is its ability to serve as a comprehensive analysis on the spectrum of woe. On this show, every character responds to their shared trauma differently. Nora keeps her house looking the exact same as when her family departed, while also donning a bulletproof vest and commanding prostitutes to shoot her. Matt exposes the sins of those who departed to quell his fear that God did not choose him. A New Age healer proclaims that he can absorb the pain of loss through physical contact. A Guilty Remnant named Meg (Liv Tyler) manifests her nihilism by inciting chaos and pain. This season, Kevin duct-tapes plastic bags around his head and hyperventilates.
In the end, The Leftovers is a lot of things. It is a well-written and well-acted musing on human morality that frequently relishes in delightful idiosyncrasies. It is a study of what it means to be left behind and forsaken. Above all, it is a moving interpretation on where we came from, where we’re going and why we are so persistent in our survival.
The Leftovers premiered its third season on April 16. The show airs on HBO at 9 p.m. on Sundays.
Modus Vivendi is a lifestyle column written by Daniel Sucar published every Friday in The Pitchwriter. Follow us to receive our stories every day in your inbox.
