To viewers the show was like Marmite – some loved it and others hated it. The critics were unanimously apathetic. It was ambitious and at times it hit the mark but it was too often wayward and inconsistent to endure such widespread acclaim as HBO classics ‘The Sopranos’ and ‘Broadwalk Empire’.
To me it was impulsive viewing. Admittedly at times it was a little trashy (How many lingering close-ups of Justin Theroux’s abdomen do we need?), yet its slow reveals, character development and punch to the gut emotion was like a needle to my vein – an addiction to which I just couldn’t get enough.
Set in the fictional town of Mapleton, New York, The Leftovers takes place three years after the “Sudden Departure”, a global tragedy (and mystery) that caused the disappearance of 2% of the world’s population. Focusing on Kevin Garvey and his fragmented family unit the show followed the lives of ordinary people in the midst of this global cataclysm.
The show was able to perfectly balance the intimate with the grand – effectively incorporating universal themes of justice, trust, forgiveness in a manner that was almost spiritual; certainly the energy of the whole piece was an exercise in catharsis. It was one of the darkest shows in TV history, as hyper-violent gore symbolised the whole exercise; a purging of our modern-day demons. Questions were asked: Would our civilisation survive the holy rapture? In what forms would the guilt take hold? Amongst bland TV homogenisation (HBO have been a constant beacon against TV blandness) The Leftovers was brave enough to stick its neck out with complex themes. Some appreciated the effort, others were put off.
I’d be in intrigued by the twee, intoxicating suburbia of writer Tom Perotta’s, ‘Little Children’. The Leftovers shares a similar fascination with the darkness, the lustful passions behind small-town America. In fact, the rather over-wrought ongoing within the Garvey family unit were the main reason behind such impulsive viewing. It was perfect soap TV with its winding, rather far-fetched domestic storyline keeping the viewer on the edge of their sofa.
However it is the divine theme, the energy and most of all the acting that lifts The Leftovers from mere middle of the day, pre-watershed fodder. The acting in the first series was of the highest quality, especially amongst the supporting cast where Christopher Eccleston re-affirmed his position as one of the best jobbing actors around and Carrie Coon who made a scene stealing turn in last years David Fincher blockbuster ‘Gone Girl’, showed she was able to carry her stage acting prowess over to the small screen. Hollywood A-lister Justin Theroux’s acting leaves a lot to be desired, but he brings tons of charisma to the central role, enough for us to route for him as the good guy despite his numerous indiscretions.
This is where our attention turns to Season 2. For many it was surprise to hear of HBO’s renewal. The Leftovers had failed to find a mainstream audience while evading critical darling status at the same time.
HBO therefore decided to act out. Cue a completely new main cast and location, just at the exact point when our connections had been made with Mapleton. 8 of the 14 main cast members remain (Arguably the best out of the acting pool, apart from Emily Meade who was constantly engaging despite limited screen time towards the end of the season as the sassy, free-spirited Aimee, best friend to Kevin Garvey’s daughter). The Leftovers was a slow-burner, the like of which had proved so successful with TV classics ‘The Wire’ and ‘Breaking Bad’. HBO’s pre-emptive strike seems a little short-sighted. A re-configuration of 2014’s big hit ‘True Detective’ this year fell flat – more often than not these moves don’t work. The saving grace is the continuation of the best characters (despite the inconceivable nature of them all upping sticks and moving to Texas) and the potential to reflect on season one’s themes in a different setting.
Miracle, Texas – the setting for season two – is nicknamed so due to it not having lost a single resident during the purge that had destroyed homes and families in Mapleton and around the world. The theme of guilt will be exploited and hopefully the premise will create many dramatic situations capable of superseding the intensity of season one. Pressure is off for season two while expectations have seemed to loosen. Will the risks pay off for HBO? Fingers crossed.
Our Broken Record 