Note: As with all TV recaps, there are spoilers below for those who did not watch the episode. If you’re only looking for a content advisory, I’ll tell you: this HBO show, were it a movie, would be rated R for language, violence, sexual content, and thematic material, but it changes from week to week. The first commentary carried a Caveat Spectator, so you can check that out. This episode does contain a scene of sexual content, including some brief nudity.
Episode 9: “The Garveys At Their Best”
With its penultimate episode, The Leftovers finally becomes a proper tale of apocalypse. Not so much because the end of the world occurs (though it does, after a fashion), but because it does what apocalyptic literature is meant to do.
And what is that? I can’t explain it better than James K.A. Smith does in his book Desiring the Kingdom:
Apocalyptic literature—the sort you find in the strange pages of Daniel and the book of Revelation—is a genre of Scripture that tries to get us to see (or see through) the empires that constitute our environment, in order to see them for what they really are . . . the point of apocalyptic literature is not prediction but unmasking—unveiling the realities around us for what they really are . . . the empire (whether Babylon or Rome) has something to hide and so tilts the louvers just slightly to cover what it wants to hide. But apocalyptic is revealing precisely because it gives us this new perspective, just to the left, which lets us see through the blinders.
In showing us the twenty-four hours just before the disappearances occur, The Leftovers pulls back the curtain just a fraction more on its characters subsequent grief. And this is the important ...