Special Exhibit: THE LEFTOVERS

Year: (2014-2017)

Seasons: 3

Episodes: 28

Duration: 51-72 minutes

Where to watch: HBO

For a series created by someone like Damon Lindelof (Lost, Watchmen), The Leftovers had, at best, average ratings. I think I know the reason, though: the show is better known among the audiences as that series where everyone is incredibly miserable, and even the poster features the monochromatic image of a guy punching a wall in despair.

They make a fair point: I won’t deny that watching it can be a bit depressing, but it’s also a beautiful, strangely uplifting experience. I don’t think there’s anything else like it when it comes to explore grief.

Lindelof runs this show along Tom Perrotta, who wrote the novel in which it’s based, and which has a haunting premise: One day, devoid of any warning, 2% of the world’s population disappears without a trace. The plot follows the 98% who were left behind, whose sorrow at losing their loved one’s manifests in many different ways.

If this sounds familiar, you’re most probably thinking about Marvel’s Thanos and his vanishing of half of the universe’s intelligent life, but I had seen the series first, and I was instantly reminded of The Leftovers when I watched Infinity War. Also, while I loved what the MCU did with this idea, it’s obvious that they simplified the depiction of chaos. When you realize the scope that the disappearance of only the 2% has, it’s obvious that the 50% would have a permanently crippling effect that goes beyond what Marvel can portray.

The first season centers on the town of Mapleton, with Justin Theroux as Kevin Garvey, a chief of police whose life was completely turned around by the “Departure”, even though none of his immediate family in fact vanished. Then there’s Nora Durst (the amazing Carrie Coon), who is in turn the only surviving member of her household, as unluckily as that is. As everyone says, the sadness is tangible at every scene, and the cast raises up to the occasion splendidly.

There’s Christopher Eccleston as Nora’s brother, a reverend; Ann Dowd (Aunt Lydia from The Handmaiden’s Tale) in another terrifying role as the leader of a creepy cult that emerges after the event; Scott Glenn as Kevin’s father, whose mental health might have been affected; and a string of great performers portraying complex characters, each one with their own Departure-related problems.

Season 2 moves to a fictional town in Texas where nobody disappeared and thus has become a kind of haven for desperate people, and new characters join the regulars, including future Oscar winner Regina King. The tone changes a bit here and centers more on the metaphysic elements of the series, as does the third and final season. Depending on your personal preferences, you’ll probably enjoy Season 1 more than 2-3 or the other way around.

I must clarify something right now: if you’re only watching the series because you want to get answers on the mystery aspects of the show, you’ll be disappointed. The Leftovers is not about solving a puzzle: it’s about the human factor in a cosmical, incomprehensible situation, so don’t expect that you’ll be provided with a full explanation of the enigma. Bask, instead, in the powerful character drama.

One last admiring comment must go to composer Max Richter and his Main Theme for the series, which is the exact blend of heartbreaking and beautiful I mentioned earlier. If you’re ambivalent about watching The Leftovers, listen to the theme and you’ll know if the feelings it stirs are desirable for you or not.