Every week Colton Royle discusses the newest episode of HBO’s new show about a new kind of rapture, The Leftovers. You can also read our review of the book the show is based on.
I want you to understand: spoilers.
Where do I start?
So if irony is the case where the viewer knows more than the characters, what is the opposite of that called? I’ll start there, because if once was bad enough, Kevin’s lapse of memory is awfully convenient for set pieces. But hey, the guardian angel character knows what happened right? Just in case the viewer is confused?
It’s like that moment when Jill and Aimee argue over whether Aimee had sex with Jill’s dad, and a whole bunch of sarcasm is used, and you still end up not knowing whether it actually happened. Even the twins afterward have a hard time proving or disproving it.
So here’s the problem: just because you use gaps in memory and divine coincidence and sarcasm to fill the cracks of plot with glue does not mean that anything is intact.
How about Liv Tyler? That opening shot with her beating the living tar out of Matt Jamison and her cussing the living daylights out of our ears was probably the nicest part of the episode. That was after the toneless introduction of Kevin and Patti arranging a table and room respectively. Great directorial transitions between the two, excellent lighting, beautiful music, and nothing to show for it. Sure you could claim some kind of parallels, but in hindsight it seems to be some bookend to her death in Kevin’s arms.
Yes, I’m aware also of the parallels between the knife in both Jill’s and Kevin’s hands, but I just care so little. It’s episode eight and Jill is still playing detective. I could say that Jill began the classic adulthood stage of paranoia, in which we all fit the massive amounts of information from Wikipedia into little stories we call our lives. I could say that, whether through divine assistance, or through radical will, Patti was not going to leave that cabin. I could say that perhaps Aimee has some serious family issues like Nora, considering we haven’t seen any of her family and we haven’t seen her leave Kevin and Jill’s house, and she got all shaky and hurt whenever Jill pushed her about “moving on.” But I’m not, because I am tired.
I definitely think this show is for somebody, like that somebody who watched Synecdoche, New York five times in a row and drooled on a clipboard. At least in this episode there were some interesting visual displays: zooming in on both Jill and Kevin’s faces, for example. But I am way too tired of being tugged around by plot. The plot is heavy and the characters are light and they all bow down to the mighty conflict. It’s like that aggressive coworker that explains their whole predicament only to push you verbally to say, “Okay, I’ll help you.”
I think The Leftovers is trying to create an overarching and powerful plot, while at the same time building the story on sand in order to prove that plots are futile, and I think they failed. It’s not like they didn’t work their asses off, it’s just that they didn’t commit to either. You’ve got Nora’s run-in with Wayne, Tommy’s highway stop with the bodies in which the view is “just like his dream.” Kevin’s father is telling him that his “services are needed.”
Yet Gladys gets murdered and we’re told that Patti and the gang killed her. And you realize that any dramatic emotion you had over Gladys was kind of bullshit, and you wonder why you bothered picking up the show in the first place. Or maybe that was their whole point?
Colton Royle is a reader of mostly American fiction and non-fiction. He is currently teaching in Fort Worth, Texas.