Coon won a Critics’ Choice Award for her portrayal of Nora Durst, a woman who lost her two children and husband in “the departure,” as the event is sensitively called.
She’s taken up with “Leftovers” leading man Justin Theroux, a broken former sheriff whom the writers seem hell-bent on torturing from episode to episode.
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“I think female rage is not traditionally societally acceptable,” said Brenneman, who plays a woman so grief-stricken that she spent the first season in the show’s doomsday cult, the Guilty Remnant, which demands silence, chain smoking and creepy recruitment.
“But this is a ‘post-departure’ world where societal norms don’t exist anymore — what does it matter? “These women are roiling with grief and rage.” Tyler’s character, Meg Abbott, is the most physical embodiment of this rage — a former wallflower in the cult, she emerged in Season 2 as its most disobedient devotee.
The year’s television landscape featured numerous progressive portraits of female characters, but perhaps none more satisfying than the brilliant women of HBO’s “The Leftovers.” The females of this dystopian series, a collaboration between author Tom Perrotta and showrunner Damon Lindelof, has easily one of the darkest premises on TV: 140 million people, 2 percent of the world’s population, have vanished, and the remaining answerless bunch simply have to deal with it.
It’s not just that the ensemble’s individual performances resonate — though Carrie Coon, Regina King, Amy Brenneman, Ann Dowd, Liv Tyler, Janel Moloney, Margaret Qualley and Jasmin Savoy Brown certainly do.