That doesn’t feel like it’s going to work out very well, but it’s worth a shot. While that might anger many fans, especially those still upset about the LOST finale, the Departure is not what THE LEFTOVERS is about. A crazy-muscular alcoholic Justin Theroux? Across the mediation table, we see their marriage as a power struggle, a complexly calibrated performance rooted in years spent playing off one another. If that’s what you kept watching it for, you might as well stop now.
Despite the relationships and intersection of these plots, that’s a whole lot of jumping around for a show that wasn’t creatively working in the first place. I think it’ll be interesting as the show progresses as to what the discussion as to what she is. “Last season was hard, but this season really took its toll in a insane way”. It is a little bit about affixing meaning to something. So he goes from being a guy with a real outward focus from keeping control of the town to a real inward focus of just keeping control of himself. Despite their B-movie nature, she says the films tended to have a message underlying them.
Season one was at its best when it used the “Rashomon” effect to explore the nuances of memory and perception that shape our interactions with others, and at its worse when it devolved into cheap shock-and-awe melodrama. It’s people yearning for something bigger. And most importantly, [they] were completely representative of what I did not want the show to be anymore. It’s something to experience on a visceral level. It’s still there, but now the characters are not going through it alone; they’re going through it together. The sequence exists, like most of The Leftovers’ looming questions, to ensure the audience is always as off-balance as the characters. Obviously there’s a risk attached to telling the story that way. It’s the difference between a pop album and a jazz album. “But it’s just something that settles and feels lovely and wonderful”. Either way, I’m glad that season two, set in a place without Departures, may move on from mourning as well. It’s not laid out. They sort of say, ‘I’m putting all my cards on the table. It’s a slow burn. He has other interests. Justin Theroux added that executive producer Lindelof opens the first episode of the new season up in a way that allows him to “go down different avenues, and it’s lovely”.
What did you think of this week’s episode? Is he going to start hearing voices like his father? Stay with it, because the extended opening, which seems to be unrelated to the show as we know it, is planting seeds. That’s a ideal example of defying the expectations.
“I sat down and talked to them and they’re just so smart – and they want their actors to be involved with the creative process”, King recalls. Just kidding; of course it’s there on goal. That might or might not be relevant, but this show rarely shows things like that purely for the sake of it. I’ve given up on trying to predict what people’s reactions to anything would be, [but] when I first started that first script, I was pretty riveted from the first couple pages. Enjoying all the barbecue? “I love that kind of honesty”, he laughs. It’s a fantastic city. “Could something happen in the narrative this year that made us start asking all those interesting questions?” It’s inescapable. When you’re mostly outdoors, shooting, unfortunately, it doesn’t read, aside from the sweat stains that appear under our arms. He heard it about the end of Lost, which he co-created. It’s certainly unlike anything I’ve ever written before, which is both terrifying and exciting, at the same time. So I’m aware of what people are saying, and I became more and more aware that [while] I loved this thing, other people [did not]. People are wonderful here. You can distill it down and say that it’s a zombie show, but it’s not. “So we want to examine that idea, because I think there’s a lot of fruit on that tree”. “I don’t know if I like it or if I don’t like it, but what is it?” Whereas the first season may have been very heavy and on-the-nose with its towering, booming title music, this one undercuts the depression in a tongue-in-cheek manner. What’s it like to completely depart from the source material this time? Still, the Murphys – our POV family for this new locale – are a welcome respite from the Fighting Garveys of Season 1. Psychologically, it’s more tense, in a way. “At the same time, they still love it, they still understand it”, Lindelof continues. They’ve created a utopia that turns out to not be. “We’re much more interested in the condition of living in a world without answers than we are in providing them”.
LINDELOF: Yes, and you also get overwhelmed by how lame that is. How immersed in the world of high fashion are you? “If it was True Detective or The Killing, those shows kind of guarantee you a resolution – we’re going to tell you who killed Ben Casper, we’re going to tell you who killed Rosie Larsen”, he says, referring to two recent popular crime dramas. To be able to write for all those characters was thrilling. If you have any thoughts on it, let me know in the comments or on Twitter. “I think that in the back of our minds, it was always like, ‘This is where the show is starting, ‘” he says of Season 1.
The initial season of HBO’s The Leftovers was awash with the same grief that filled Tom Perrotta’s novel of the same name.
How much research do you do? Pilgrims visit Miracle in search of an assurance that in this place, they can find safety.