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An adaptation of Tom Perrotta's novel about life in a small town after many of its residents vanished in a Rapture-like event begins with the upcoming third anniversary of the "Departure" and a police chief's personal and professional struggles.
Kevin sees a therapist after a series of unsettling encounters; Meg makes a crucial decision about her future; Tom and Christine find themselves in a dicey situation; Jill and Aimee take an interest in Carrie Coons' comings and goings.
Undaunted by death threats and diminishing attendance, Reverend Jamison maintains that not all the Departed should be considered heroes, but he's shaken by news that he may lose the church to foreclosure, a startling development that forces him to go to extremes to find the money to save it.
Kevin has unexpected visitors at home, while work brings more surprises with a holiday display snafu and a detainee from another police station. Elsewhere, Tom and Christine encounter more trouble on the road and at a hospital.
A vicious hate crime tests Laurie's resolve; Kevin mulls an outside offer for help to rid Mapleton of its problems; Matt takes his sermon to the street; Meg assumes a new role.
Nora goes to New York for the second annual Departure Related Occupations and Practices (DROP) conference, but discovers that someone else has her ID badge, so she searches the convention as a "Guest," and has encounters with a salesman, an author and a rogue attendee.
Kevin orders an APB after learning that his father has escaped from the psychiatric hospital; Jill tries to break a record for endurance; Tom makes a disturbing discovery while hunkering down in Indiana.
Kevin wonders if his grip on reality is slipping after falling into a difficult situation with Patti, the leader of the Guilty Remnant. Meanwhile, Meg loses her cool during another encounter with Matt; Jill wants Aimee to explain her relationship with Kevin; and Nora shows Laurie she won't back down.
Tom connects with his past, even though he knows it's a mistake. Meanwhile, Nora has a job interview; Kevin's father receives an honor; troubling news comes as no surprise to Laurie; and Kevin tracks down a rampaging deer, but can't seem to shake his bad habits.
In the Season 1 finale, Mapleton descends into chaos after a Memorial Day mission by the Guilty Remnant. Meanwhile, Kevin gets an unexpected assist out of a jam in another town; Holy Wayne grants his final wish; Tom adjusts to a new life; and Nora mulls a difficult decision.
The Leftovers: Season 1 Videos
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News & Interviews for The Leftovers: Season 1
Critic Reviews for The Leftovers Season 1
All Critics (67) | Top Critics (40) | Fresh (47) | Rotten (20)
So with visions of Lost still too recent, here we go yet again. But after reading The Leftovers and being immensely satisfied with it, I'm not inclined at all to embark on what looks to be a very meandering journey towards who knows what or where.
As long as the series can maintain its focus on the psychological truth, The Leftovers will feel fresh.
The Leftovers conveys nicely the difficulty of maintaining order, physical or psychological, in the wake of inexplicable mass trauma.
Perrotta and Lindelof are working with an admirably rich premise.
While The Leftovers is in almost every particular better than the immensely popular The Walking Dead, it also has none of that show's cathartic, zombie-killing release.
The Leftovers, in fact, turned out to be strangest, saddest, gloomiest -- and most addictively watchable -- TV success story of the entire summer.
The show offers moments of grace in the midst of chaos... If someone were searching for proof of God at work in this world, he or she might pay attention to the evidence of virtue and care in these moments of human connection.
Despite its profound sense of hopelessness, there are occasional moments of profound beauty in The Leftovers's depiction of mass grief
It has a very good cast, a worthy pedigree, and an interesting premise. It's worth tuning in to see where it's going to go.
Leftovers played like an epic poem of rapture (or non-rapture), and, indeed, there was a hero... we think.
The Leftovers depicts with uncomfortable authenticity the psychological toll it would take on a society to have demonstrable evidence that they've been left behind.
The maudlin cadences doubtless cast a spell. However, to approach the cult acclaim of Lost The Leftovers needs to shake off the torpor and give audiences something to cling onto.
Audience Reviews for The Leftovers: Season 1
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Feb 25, 2021What a stupid show......
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Dec 04, 2020Very intriguing, particularly in terms of how the conditions of life within this fantasy premise resonate, like good speculative fiction, with contemporary social reality. Maybe especially in terms of the cult / conspiracy theory / pogroms storyline. Some aspects of it are also frustrating. Reminds me a bit of Lost (which I didn't really watch, but which my mom tried to explain to me several times) in terms of dramatic conventions -- not driving towards resolution or more tension but "let's explore this weird thing that we've decided is happening now." Also, this level of emotional heavy-handedness may not be for everybody.
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Nov 27, 2020One of the greatest TV series of all time. It is there with Dark, Game of Thrones, Boardwalk Empire, House of Cards, etc. This series focuses on how people deal with their grief and loss. Mind blowing, out of the box, artistic, symbolic, and plenty of biblical & cultural references. Classy opening theme from Max Richter too, showing missing people being taken towards the sky | follow us at @uncle.review
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Nov 12, 2020Peculiar and intriguing, The Leftovers' first season asks weighty questions and delves into daring topics all while sporting some of the most impressive television cinematography to date. Always beautifully written and acted, this Damon Lindelof project stands alone as an ode to depression and shared trauma. The Leftovers, based on a novel of the same name by Tom Perrotta (Writer, Producer), asks what would happen if 2% of the world's population disappeared in the blink of an eye. How would we react as a collective society? How would we move on, or perhaps more importantly, could we move on at all? The show tends to be heavy and the score does an impressive job at guiding all that misery and focusing it throughout the key moments. Produced by Max Richter the score alone brings goosebumps, its violins crooning in an almost tortured way. The themes of sadness and loss are best exemplified by the excellent acting crew lead by Justin Theroux, Liv Tyler and Christopher Eccleston. The first plays the chief of police who might be going crazy, the second a woman recently engaged but clearly still missing something important in her life, and the third a preacher committed to trying to make sense of the departure event at any cost. It's really Ann Dowd's Patti, a high-ranking member of a local cult, who steals the show with her intensity and sense of purpose. The goals of this cult of white-wearing chain smokers, called The Guilty Remnant, are not immediately known and, as is so often the case in his shows, Damon Lindelof delights in revealing them slowly. World building while sowing mysteries is a hallmark of Lindelof's work and The Leftovers is no different. Ever the master of exposition, Lindelof manages to introduce this parallel reality's differences in subtle ways that fit the narrative. Even with the mystery, the world building, and the number of significant characters The Leftovers can feel like a bit of a slow burn that lacks direction at times. There is a lot to unpack in just ten episodes, but Lindelof also wants to let some scenes really take their time to resonate, a combination that can lead to some feelings of whiplash as far as the show's pacing is concerned. Some of the concepts and story lines feel incomplete, which may be the point given that this show has an additional two seasons, but it can still feel as if we are meandering. Being that the subject matter has to do with depression it is likely that these periods wandering focus are intentional, but that does not make them any less taxing. But again, that may itself be the point. Ultimately The Leftovers offers an experience you are not likely to get elsewhere on television. More than just a compelling story, it asks us how we think we would react to unexpected trauma and how we would try and heal from that same trauma. Could we even be the same people we were before? Lindelof asks these questions of a fictional small town in New York, but it is impossible not to feel as if he is asking every one of his viewers too. The Leftovers can be a cumbersome ride but, if you trust the conductor as I do, it is a ride full of rich introspection and artistic grace. And it's a ride that shouldn't be missed.
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Jun 18, 2020What nonsense is this
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Apr 09, 2020Interesting premise. Sypathetic characters. Beautiful soundtrack. Aimless, meandering storyline. I made it to the end of the season hoping episode after episode for some semblance of plot, rhyme or reason. But to no avail. I will not be coming back for season 2.
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Mar 20, 2020Having just devoured The Outsider ( no pun intended ) a fellow reviewer mentioned " it was the best serial since The Leftovers ". Having sought out the old reruns, I found the pilot and realised I'd watched that episode but gave up ? I think it had a lot to do with Ecclestones awful American accent. Putting that aside, this was a revelation ( again no pun intended ) , serious characters with immediate investment. The religious allegories were done very well and some of the outcomes were deeply moving. Like a good book, I just couldn't put this down if I tried. Astonishingly well conceived and directed. On to season 2 !
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Mar 09, 2020As good of a Season One as you'll ever see. It has it all: Perfect pacing, dynamic characters, a solid setup for a story, great acting, mystery, romance, and the classic Lindelof feeling of "something bigger is at play here..." Possibly the best Season One of a show that I've ever seen.
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Jan 24, 2020It's more like a pilot that's hard to swallow, but if one still curious about the psychology, one may continue.
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Jan 05, 2020Pretentious, inconclusive, void.
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