There is no other show that has the ability to make me tear up at the sound of a few bars of music quite as easily as The Leftovers. Max Richter’s score is the number cause of my best Claire Danes chin quiver impression and this has been out in full force during this last season.
This isn’t to take away from the acting or the writing as I was a full ugly crying mess before “Dona Nobis Pacem 1” kicked in during the impromptu therapy session between Laurie and Nora in last week’s episode “Certified,” but there are few tracks that can conjure this kind of reaction later on when the music has been separated from the scene. In fact the only other track I can think of that has done this recently is The Gloaming’s “Allistrum’s March” from Fleabag.
One of the things the score does best on The Leftovers is reach deep into your soul while also recalling previous scenes that have used these pieces of music; a cue to remember. Some of these are themes are for certain characters or emphasizing aspects such as Kevin’s internal struggle. Or in the case of every time Kevin crosses over to the other side the use of Verdi’s “Va, pensiero” signals the bizarro world aspects and the mission at hand.
Blending contemporary with classic and genres across the board could become incoherent, but like a lot of things that makes The Leftovers so special the variety of song choices works because you don’t know what you’re going to get next. It might be trampolining to the Wu-Tang Clan or A-ha’s “Take on Me” becoming a poignant reminder of all that has been lost and might be found. Or it could be Max Richter’s score giving your tear ducts a cathartic workout.
Season 3 also saw a shift in how the opening credits music has operated with a song of the week instead of the typical one song. “The Most Powerful Man in the World (and His Identical Twin Brother)” dove back into the well using the original theme from season 1 causing me to burst out laughing quickly followed by tears. Aka The Leftovers way; the absurdity levels of aspects like penis scanners coupled with Justin Theroux’s ability to crush me with his eyebrow emotions was off the scale this week. 
Instead of using the score during the dramatic double Kevin surgery as blood spattered all over the tailored to perfection white suit – so much boot envy too – music supervisor Liza Richardson opted for The Beach Boys classic “God Only Knows.” In an interview with Alan Sepinwall, Richardson talks about using a song that has connotations with another show (in this case Big Love) and ultimately this was a showrunner decision:
“I find that my show runners in general don’t usually care about that. Whenever I see something scripted or they request a song, I always look it up to see where it’s been used before. I would rather a song have sort of a fresh use, so I always warn them and say, “Oh this has been used in this, this, this, and this. Are you sure you want to go there?” I find that usually they don’t care. It doesn’t matter. There’s so much TV out there, everybody has a unique experience of it.”
It is a fascinating interview and includes how they landed on which Wu-Tang Clan track to use, the Kevin karaoke moment and what songs missed the cut for one reason or another.
Bringing me to the final credits track choice from the penultimate episode of The Leftovers and this is a strength of many HBO shows. It is also one I have discussed on numerous occasions in relation to why this final song of an episode is so important.
Here it plays out after Kevin Sr. has asked the most rom-com movie question of them all – “Now what?” – and there is a definite leaning into these romantic elements as we hit the final stretch. The opening scene of “The Most Powerful Man in the World (and His Identical Twin Brother)” flashes back to when things between Kevin and Nora were good; they’re sharing a candle lit bubble bath while talking about what they would like to happen to their remains after they die.
Not the most romantic conversation per se, but there is tenderness, intimacy and dark humor here that gives weight to why Kevin and Nora are the OTP of The Leftovers world. Damon Lindelof has described this show as a love story with these two characters at its heart and my shipper loving heart is hoping they find their way back to each other. Even if the final scene of the season 3 premiere suggests something far bleaker.
Kevin spends his time chasing Nora or the idea of her at least when he is in this alt-universe; she is the image that keeps flashing up and there’s even the untitled romance novel he has written that concludes he is to blame for the end of their relationship. Is this “The Book of Nora” that the title of the finale alludes to? He’s removed one heart in another world, but does this mean he can save himself, his relationship and the small circle of broken souls who have put so much faith in him?
The grand question of “Now what?” for Kevin Sr. has nothing to do with his son’s ex, but as the strains of Patty Duke’s “The End of the World” plays over this rooftop chat it is all I can think about.
Everything looks the same, but the internal struggle continues.
With just one episode left can Kevin et al find some semblance of peace?
Bonus Leftovers content via Instagram and director/producer Mimi Leder shared a couple of delights.
Alt-American Gothic
The second time I’ve used this in a week – much to my dismay – but #SquadGoals. And yes I am coveting Carrie Coon’s striped top, because of course.
And for all your Leftovers season 3 playlist needs:
TV Ate My Wardrobe 
One Response to “Music Monday: The Leftovers and the End of the World”