TV Club: Nothing beats post-Thanksgiving Leftovers

The Leftovers is magical. Not only in the sense that it flirts with magical realism and whimsical ideas, but also in the sense that its narrative sleight-of-hand tricks are unparalleled. It’s television as close-up magic. You can look and look, and still not see what’s happening right before your eyes. “Ten Thirteen” ends with what has to be the most brutal gut punch a television show has pulled off all year. And it’s all a result of the deliberate, unorthodox storytelling approach The Leftovers has taken since the season began. Damon Lindelof insists season two is not a reboot, and I’d agree that the description doesn’t fit. But just like a rebooted show or a brand new one, season two of The Leftovers has had to train its audience how to watch it, for example, not to take for granted that you’ll see the …

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