The Leftovers: Damon Lindelof’s last-minute Emmy campaign promises Justin Theroux sans sweatpants


With the series finale having aired earlier this month, there’s one thing left for The Leftovers to do: get itself some Emmy nominations!

Over the course of its critically acclaimed three season run, the HBO drama hasn’t received a single Primetime Emmy nomination. But on the final day of Emmy voting Monday, series co-creator Damon Lindelof made a last-ditch effort to change that with social media push making some rather tantalizing promises. In a series of posts on Instagram, Lindelof has shared several Leftovers memes that implied Justin Theroux will get naked if the show is nominated for an Emmy.

“Nominate Theroux and the sweatpants go away. #LastDayOfEmmyVoting,” reads one of the memes Lindelof posted. The showrunner also went to bat for other members of the cast members Carrie Coon, Amy Brenneman, Ann Dowd, Kevin Carroll, and director Mimi Leder.

Check out the hilarious Emmy campaign below:

A post shared by Damon (@damonlindelof) on

A post shared by Damon (@damonlindelof) on

A post shared by Damon (@damonlindelof) on

A post shared by Damon (@damonlindelof) on

Emmys 2017: Supporting Actress, Drama — Dream Nominees


WHY SHE DESERVES A NOD: In a word, “Certified.” When, toward the end of its run, the just-concluded HBO drama shone an episode-long spotlight on Laurie, shrink/wife/mother-turned-Guilty-Remnant-disciple-and-back, Brenneman beautifully illuminated not only her complicated character’s heart-tugging compassion and envy regarding husband John’s faith but also the lingering despair and emptiness that made us fear her breathtakingly honest goodbye to ex Kevin really might have been a precursor to her committing the most “elegant” kind of suicide.
Image: Courtesy of HBO

Amy Brenneman – ‘Lives of Women’


Introducing “Lives of Women,” an intimate portrait series from Indigenous Media and created by acclaimed-filmmaker Rodrigo Garcia, that showcases the voices, thoughts and experiences of women as shaped by their past choices, present and hopes for the future. Their stories are equal parts happiness and hope, nostalgia and heartbreak, dark and light. These are the real stories of the women who make up our world.

“I absolutely think the word ‘Christian’ has been stolen in 2017 in America by the ‘Christian Right.’

I had an abortion when I was 21. I’d actually been public about having had an abortion 10 years ago, but that was pre-social media, so now in the age of Twitter and Facebook I was trolled pretty viciously. The experience of withstanding that has been really transformative.

In my church, we are prayerfully pro-choice, which means that we believe in the moral agency of women. I think a woman’s moral agency means that she has autonomy over herself to decide what is right for her body and decide what is right for her fetus. So I don’t feel like I’m in conflict with where I go every Sunday.

I’m never going to win those pro-life people over. They hate me and they say horrible things about me, and I am in acceptance of that. So to live alongside this hatred has been really empowering and, ultimately, freeing.”
–Amy Brenneman, #LivesofWomen

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by Boris Kachka

Day is turning to night, fair weather to one of those early-spring squalls that make the savanna west of Melbourne, Australia, feel like Ireland with eucalyptus trees. We are in the last day of location shooting on the series finale of The Leftovers, sheltering in a 19th-century clapboard church while star Carrie Coon shivers outside in aging makeup and a $10,000 wig, genuine frustration fueling the anger she needs to play a lovelorn recluse calling a nun a “fucking liar.” Seated in front of a monitor, wearing a cap with the logo of a kangaroo and the words “Leftovers Final Season,” is Damon Lindelof, the nervous showrunner, whose job is to create, then second-guess, and finally cut and polish his profound and bizarre follow-up to Lost.

Lindelof doesn’t love being on set, even — or especially — when he’s there to say good-bye to his own critically beloved gospel of grief and faith. Conclusions are a difficult subject for him. Running Lost in his early 30s, the rookie creator spent six years shepherding the hit ABC show about time warps and smoke monsters through an era when fans, connected and emboldened by internet message boards, began demanding answers that older auteurs — say, Lindelof’s idol David Lynch — had never needed to reckon with. Namely, for Lost, what is this mysterious, magical island that the characters find themselves on? When its 2010 finale failed to produce answers, Lindelof’s rabid fan base turned on him. The groundbreaking series became a cautionary tale. Three years after the finale, Lindelof’s Twitter bio still read: “I’m one of the idiots behind ‘Lost.’ And no, I don’t understand it, either.” He quit tweeting on October 14, 2013 — the same date on which, in the pilot of his next show, 2 percent of the world’s population vanishes.

It was Tom Perrotta who gave Lindelof a shot at redemption with his novel The Leftovers. A literary realist, Perrotta used the supernatural mini-Rapture as a catalyst for psychological and social turmoil. In return, Lindelof gave Perrotta almost equal say in his writers’ room, and together they crashed the mysteries of existence into the hard limits of human relations. The author stayed on after season one exhausted his novel’s plot, forming a partnership that remains rare even in the most prestigious Zip Codes of prestige TV. Despite anemic ratings, The Leftovers became a darling of viewers who prize dark subjects, wild invention, and the kind of intricate, recursive storytelling that rewards patient fandom.

One of the premises of The Leftovers was that the disappearance of the 2 percent, known as the “Sudden Departure,” gave spiritual seekers a do-over, a chance to write new testaments. So it was for Lindelof; Perrotta’s humanism and HBO’s focus on quality over quantity allowed him to channel his obsessions into a show that was more pedant-resistant (because the mystery was secondary) and easier to control. The Leftovers played out over three short, distinct seasons, the last one comprising eight episodes developed over twice as many months. Lindelof spent much of that time worrying about the last episode, No. 28, along with the inevitable comparisons to Lost. “It’s all that pressure of saying, ‘Forget about your other 27 dives — we’ve thrown out the scores,’ ” says Lindelof. “The only dive that matters is the 28th.”

What follows is the complete story of that dive, or rather three separate dives: “You make a show three times,” episode director Mimi Leder told me on that stormy night. “You script it, film it, and then you make it a third time in the editing room.” For this story, I spoke with everyone who was in the writers’ room about the construction of the script; flew to Australia for a tense and emotional final week of shooting; and sat in with Lindelof as he built his final cut, reshaping his creation virtually frame by frame. Throughout, Lindelof was precise and obsessive. But the only thing he couldn’t control was what the audience would make of it.



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