The Leftovers Triumphs In Season 2

It began with a miracle.

It ended with a miracle.

Earning the trust of a viewer is paramount to a successful show. We want to be taken places we didn’t think possible, but have it make sense creatively, while having it make an impact emotionally. Recently concluding what some consider an all-time great season of television, Season 2 of The Leftovers took me there and then some. We watch the show from a fresher perspective this time around, one that the show so successfully employed in season 1’s ‘Guest’, by using a single person POV. It narrowed the focus of each episode while sharpening the edges.

(SPOILERS: I will be touching on some plot points of the season, so if you want to watch the show spoiler-free, your eyes need go no further)

This season began with the Garveys + Nora leaving Mapleton for a place that was virtually unharmed during the Departure – Jarden, Texas, otherwise known as Miracle National Park. This is not a reboot. It’s more a contemplative continuation of the seeds that were planted in season 1. Their move breathed new life into the series. It instilled the feeling of hope that was there in season 1, but not prevalent. (Full disclosure: I’m a staunch defender of Season 1 despite it’s issues.)

“There are no miracles in Miracle,” says John Murphy early on. The Murphy’s, long-time Miracle residents, and new neighbors of the Garveys, have a checkered past of their own. We witness their journey from comfortable on the surface – a strong contrast to what the Garveys often present – to confused and lost, just like many outside their sanctuary of Miracle. In the finale, we see Erika Murphy and her husband John in separate scenes make clear that they don’t understand why their world has crumbled around them. Their daughter Evie, who disappeared towards the end of the premiere episode, has reappeared under peculiar circumstances unwilling to even speak to her parents.

“I don’t understand what’s happening,” says John.

“Me niether,” replies Kevin.

There’s a magic to this show, as Alan Sepinwall of Hitfix.com writes. A feeling that every time you watch, something profound is about to happen. We sit on the border of real and surreal, living the show through the eyes of the cast. In those eyes we must figure it out along with them.

Taking a page from The Sopranos playbook, the eighth episode, ‘International Assassin’ forces Kevin Garvey (Justin Theroux) to navigate his way through a sort of Hell in order to find peace. Or was it purgatory? It doesn’t matter because what we got was one of this year’s finest hours of TV. When he wakes up back in the Hotel Hell in the finale, we’re once again blessed with a moment not soon to be forgotten. Kevin must karaoke Simon & Garfunkel’s ‘Homeward Bound’ in order to leave this place. To go back to his family, the people he loves, the life he feels is not yet complete. The gut-wrenching is agonizing; the confusion and pain pouring out of Theroux’s face was something to marvel. In a show filled with poignant musical moments, this topped them all.

The Leftovers is a metaphor for death. What happens when you lose someone? How do you react? How do you move on with your life? Co-creators and writers Damon Lindelof and Tom Perrotta (author of the novel, The Leftovers) are going for maximum emotional impact with this series. Home run.

As season 2 wound down, it was unclear whether there would be a third. Ratings dropped precipitously from season 2, and though it was critically acclaimed, that’s no guarantee. The Leftovers has found itself on many year-end top 10 lists, including #7 in the HitFix critics poll (a cumulative poll of more than 50 television critics.) The reviews were not as kind for the first season making it more than apropos that the turnaround seen in the next would take place in a town called Miracle. HBO issued a press release last week announcing that The Leftovers would return for a third and final season next year. The trilogy will be complete. THANK YOU TV GODS.

This is an experience. A show that thrives off insanity. As engrossing as it powerful, as sad as it is beautiful, there are very few experiences that compare. In this age of peak TV, we’re lucky to have a show like this. It takes risks and goes for broke. It grabs you by your heart strings and keeps tugging. Lindelof and Perrotta have my utmost trust and respect. They can take this in any direction and I’ll follow. In the words of Iris DeMent, “I think I’ll just let the mystery be.”

Miracles do happen in Miracle.

Oscar Season in Full Swing

It would be difficult to characterize 2015 as a banner year in film. Take a look at the top 10 box-office hits of the year and we find sequels, reboots, and superheroes. A box-office list doesn’t necessarily show us the good in film. Most often, it’s quite the opposite. These are major-studio-produced projects that have big budgets, and major dollars in advertising campaigns behind them, most of which are released in the summer months. We’re past that now. October began the season of more serious fare. Indie, art-house, supposedly award-worthy films.

We’ve reached an unfortunate lull in November where nothing has moved the meter in weeks, but let’s break down some of the early hopefuls already in theaters. Perhaps this post helps some of you who aren’t sure what films are worth your time and money this season.

SICARIO – 3.5/4

My favorite of the early awards hopefuls, Sicario is a tense thriller that takes a look at the frightening drug wars on the border of the United States and Mexico. Director Denis Villeneuve (Enemy, Prisoners) has established himself as a man so adept at tension in even the simplest of scenes. Shot beautifully by Roger Deakins (DP – The Shawshank Redemption, Fargo, No Country For Old Men, Skyfall), and led by a quiet, but powerful Emily Blunt, and Benicio Del Toro in his most chilling performance in years, Sicario is an ambitious, and compelling thriller that at times will leave you breathless.

THE MARTIAN – 2.5/4

I couldn’t help but feel disappointed walking out of this one, feeling as marooned as Matt Damon’s character on Mars. While critical praise is almost universal, The Martian left me cold. Damon gives a fine performance, but the rest of the cast—that for whatever reason needed to be someone recognizable in each role—was distracting at best, and annoying at worst. At times, the science is fascinating, and the imagery wonderful, but it was too Hollywood-by-the-books. A neatly wrapped up film where the end is never in doubt.

BRIDGE OF SPIES – 3/4

Steven Spielberg is no stranger to war-time film-making with movies such as Schindler’s List, Saving Private Ryan, Munich, and Lincoln under his belt. While Bridge Of Spies may not be a major Spielberg work, and at times feels like it’s a film more settled than ambitious, it’s well done. With a tight, at times humorous script by the Coen Brothers (of course!), and one of America’s most beloved actors (Tom Hanks) leading the way, it’s a drama about morals. About doing what’s right instead of doing what’s asked or expected. Mark Rylance as Abel, the Russian spy, is scene-stealing.

STEVE JOBS – 2.5/4

It’s another slam-you-over-the-head with quick, witty dialogue Sorkin-fest. Think The Social Network, but not as good (and I didn’t love that, either). There isn’t a lot of revelatory information here. Jobs was a difficult person to work with and be around, but this is known, and there are better sources for that information. The film, and script are more concerned with showing you how bad a guy this was, rather than the visionary who inspired it. This gets the extra half a star for Michael Fassbender’s immersive title performance as Jobs. He’s so good, you forget they look nothing alike.

A bonus pick for those of you who enjoy documentaries:

JUNUN – 3/4

For my money, Paul Thomas Anderson is the greatest working filmmaker today, and of the last 18 or so years. Writing and directing the fabulous Boogie Nights at 26 years old, and creating what I consider to be the only masterpiece of the past decade (There Will Be Blood), PTA is known for his flair behind the camera, his close-ups, and getting the best damn performances of actors a director could dream of. He sets most of that aside here to film his friend, and regular collaborator Jonny Greenwood (lead guitarist of Radiohead) creating an album in India with a group of Indian musicians. There is almost no dialogue, and very few interview moments we’ve become accustomed to seeing in documentaries, but the connection of these musicians, and the feeling conveyed by each shot left an impression on me. It might not be for the average viewer, and maybe you need to be a fan of PTA to get it, but for the wonderful music alone, and that it’s less than an hour, it’s certainly worth the look.

Something to keep an eye on going forward is women in Hollywood taking the lead this season; a refreshing and exciting trend to this year’s films (as well as television). I’ll come back in the coming weeks and post my thoughts on that and more hopefuls including: Spotlight, Carol, Room, The Revenant, Brooklyn, and The Hateful Eight.

Tweet me @BobbyJDaniels!

Shocking Truth Revealed – The Caviar Of The South

Once Jimmy asks to discuss terms and Howard asks to have the room clear, you knew this was going south. It didn’t initially, with the money being right for Jimmy, but the moment he spoke of having the office next to his brother….

It’s taken nine episodes to build to the ending of last night’s Better Call Saul. It was a total gut punch. We were watching it all unfold, knowing what was coming, and I still wasn’t prepared for it. I’m not sure if betrayal is too strong a word. Maybe it’s more of a severe distrust Chuck has for Jimmy and his fear of Slippin’ Jimmy’s ways. No, it’s betrayal. And a tragic one at that. We’ve seen Jimmy take care of Chuck, a man who’s barely able to leave his house, won’t use electronics, won’t even turn a light on.

It’s not the reveal that Chuck is stopping Jimmy from becoming a lawyer at his firm that’s so shocking, but the hostility and vitriol with which he delivers it. Is he right? As we’ve come to know Saul Goodman’s character through Breaking Bad, yes he is…in a sense. It’s clear in the first season that there was a time when Jimmy wanted to do things the right way. He wanted to be the upstanding citizen, and great lawyer that his brother obviously is. Seemingly, the beginning of the end of that part of his life took place in “Pimento”.

We’ve gotten the impression throughout that Howard is embarrassed by Jimmy. He won’t give him a full time job, and he’s generally unwilling to even consider Jimmy as anything other than someone who belongs in the mail room. In hindsight, is Howard the bad guy? If anything, it’s clear to me now that he’s tried to help Jimmy as best he can without pissing off Chuck. (Nice touch having the entire firm waiting with a standing ovation for Chuck as he made his come back.)

It felt like we were on our way to a Mike centric episode, and during and after his scenes with “Pryce” – who wore clothing resembling something a future co-worker of Mike would wear – I thought the bulk of what I wrote about the episode would be about Mike’s mastery in the field of security. Also, perhaps, his expertise in the “interview room”. Mike and Jimmy’s storylines felt a bit disjointed this week, and I hope to see them back together next week, but Mike is just so great that it doesn’t effect my enjoyment of his time on screen. His speech on what it means to be a criminal, both good and bad, was exactly the type of wisdom we expect of Mike at this point, but it never feels preachy or over-the-top.

Up until last night, “Five-O” stood out as the signature episode of this first season. It was dark, and suspenseful, and tragic. “Pimento” hit all those notes and reassured every notion I had that this show is for real. It’s such a pleasure to watch. Worth noting that in one of the most dramatic scenes of the season, it was two comedic actors who nailed it. One of the thoughts that regularly crosses my mind after an episode is that these guys – Gilligan and Gould – get it. They absolutely know what they’re doing, and know how to make great TV.

Girls Finale in Which I Didn’t Hate Anyone

It’s an irregular occurrence when I’ve watched an episode of Girls, and don’t find at least one (usually several) of the characters to be deplorable. Perhaps there is a growth and maturity to these women that hasn’t been present before. It’s possible the growth in maturity lie completely with Hannah, but I shouldn’t jump the gun on that either.

In any case, Girls took an inconsistent road this season to get to that point. Beginning with Hannah leaving for Iowa, struggling to work in connection with her classmates or to make it feel like home, only to come back to Brooklyn to find Adam living – in their apartment – with another woman. It took this move back for me to feel any real connection to this season, but even with that said, as I view it as a whole, I didn’t dislike it.

Girls often suffers from a lack of things to do with some of its characters. Jessa meandered through the entire season, and I’m still not sure what she did (not much), though I generally find her way of dealing with things to be funny in her own distasteful way. Jessa as a therapist isn’t the worst idea, however harsh she might be, but when there’s no set up for that payoff, it comes off as more of a joke than something we could ever take seriously.

I DIDN’T HATE MARNIE IN THIS EPISODE. Sorry for the caps, but I can’t remember the last episode of this show in which I was able to say that. As she was left to go up on stage alone without Desi, her singing was, compared to the rest of her “work”, lovely. Interesting to note the season premiere in which she’s heckled off stage at a jazz brunch, by children no less. To go from that moment, to the finale where she’s able to take charge of her life and career and put forth a credible performance is something I’m sure she’ll try to expand on going forward. Also, any Spike Jonze cameo is one I can get behind. Spike Jonze gave us the greatest music video of all time!

Speaking of Desi, THANK YOU RAY! Desi is certainly a douchebag, certainly full of crap, certainly pretentious, and for sure if I were at a bar, or a venue of any kind and he were up on stage, those are the exact thoughts that would be going through my head. Ray hasn’t gotten over Marnie (why?) and says as much in the course of this season. Even his take down of Desi is followed with a stern testament to Marnie’s worth as a woman and companion.

Adam losing his temper, Caroline being crazy-pregnant in the tub, Jessa imparting her therapeutic wisdom to Laird lead to what is likely the funniest moment of the season: Adam fainting. Admittedly, that got a big laugh out of me.

After the birth of Adams nephew, Adam tells Hannah, “I don’t think I really knew her,” in regards to Mimi-Rose. No kidding. Adam, a creative guy in his own right, is attracted to creative women, but in no way does that make them right for each other. Not really knowing her was just one of the issues, albeit a troubling one.

When Hannah speaks to Adam about the end of a relationship, she was speaking for us and to us. When a relationship ends, all you can do is ask yourself, “who was that person? Why was I with that person?” Then a few months go by and you can remember all the happy things, all the happy times you spent with them. Once those memories come back, you’ll move on and be ok. Such an effective conversation to save for this moment. It’s something I know I’ve felt many times over.

It was a graceful, and at times hilarious finale. I wonder what the six month time jump will mean for everyone. Hannah is now dating her co-worker, that much we know. Hard to understand that just yet considering all the things Hannah did for this guy to completely run the other direction. Did Shosh go to Tokyo or did she stay with the man who thinks he’ll be in love with her soon. Does Jessa have her own practice or is she still being Jessa? Ray and Marnie? Sometimes a time jump works. Parks and Recreation instantly comes to mind. For all its inconsistencies, Girls remains a show I enjoy. I accept it for what it is, but a show set in Brooklyn about people in their late 20s trying to figure it out continues to speak to me as someone who is going through the same.

The Second Interview – “There it is. You’re caught.”

This was television riveting on a scale I haven’t seen in quite some time.

As the day began, news came down about the arrest of Robert Durst. Durst, using an alias, was arrested in New Orleans for the murder of Susan Berman, one of Durst’s closest friends, and one-time potential witness in a case against Durst – the assumed murder and disappearance of his wife Kathleen. Was it a coincidence that later that evening the finale of The Jinx would air on HBO? Perhaps, but a jaw-dropping coincidence, nonetheless.

The final moments of the finale were creepy, and eery on a level we may have never seen on television. It was real. What a remarkable and stunning reveal for Robert Durst, off-camera, in the bathroom with a hot mic still connected to his shirt, to seemingly admit to the murders of three people.

Having seen the completed product, it appears obvious that this six part documentary played an intricate role in the arrest of Durst, but did he want to get caught? You got the sense throughout the interview process that this was a man struggling with his inner demons. Struggling with what he had done – he admitted in court in 2003 to dismembering the body of a man he considered a close friend, but denied murdering him – but also a man arrogant enough to seek out a way to tell his side of the story. And maybe it wasn’t a man struggling with what he’d done as much as a man struggling with self-control. He seemingly couldn’t help himself, going against the advice of his lawyers and allowing himself to be backed into this corner. I might be giving him too much credit.

Robert Durst in “The Jinx: The Life and Deaths of Robert Durst.” Photo Credit: HBO

This man is a sociopath. Control of the situation was what he was looking to gain here and when he realized what might be happening he backed off. Two years passed before Andrew Jarecki was able to get Bob in for a final (second) interview. This is where I come back to him wanting to get caught. If you go two years without sitting down again, why not stay away? That’s a long time, and he even says during a phone conversation that Andrew “should get a new gig”, and that he should give up on Robert Durst.

There are some timeline issues that have surfaced since the airing of the finale. Jarecki himself has stopped doing interviews, and was even a bit hesitant and less than forthcoming about the actual timeline of events leading to the arrest. Admittedly, something seems fishy in this considering the final interview took place almost three years ago. Jarecki & co. claim is that they found the hot mic audio nine months ago in the editing process. I don’t find that completely unbelievable, but when you take into account the other supposed timeline fibs made by the production team, you’re left to wonder.

“What the hell did I do? Killed them all, of course.” The chilling final lines of this series spoken by Durst to himself. It’s as if Durst was talking to the little voice in his head. Afterwards I kept thinking of Danny talking to Tony in The Shining. This internal monologue was followed by the symbolic turning out of the lights in the conference room where the interview was conducted. Turn out the lights, allow the authorities to take over. When HBO began running promos for The Jinx, I knew very little about Robert Durst. I couldn’t have imagined the series would turn out the way it did. As far as non-fiction storytelling goes, this was mastery of the highest level. There are many questions about the ending, especially in terms of ethics and logistics. Jarecki inserted himself into so much of the story telling (in my opinion, rightfully so) it feels a bit disingenuous to not tell us more about the timing of the arrest.

HBO hit an absolute home run with The Jinx. From a content, as well as a publicity standpoint, it doesn’t get much better than this. With the success of the Serial podcast, and now The Jinx, networks will be salivating for this type of real-life drama. Hard to imagine you’ll be able to find a central figure more enigmatic, or as engrossing a star.

BD