Comedy, tragedy, horror, symbolism: The Leftovers fires them at you one after the other and doesn’t much care whether you’re able to field them. To find another show this confidently manic in its creativity you’d have to turn to Paolo Sorrentino’s The Young Pope — minus its emotional ambiguity and gorgeous European pomp and camp, perhaps, but with a relentless focus on grief, trauma, and all-American God and guns and self-improvement schemes that make for a pretty fair trade. For Lindelof (co-writing with Patrick Somerville), a creator who once seemed debilitatingly preoccupied by the reactions of his audience, this show is an absolute breakthrough. For director Mimi Leder, it’s a showcase for a steady hand and keen eye that keep all the disparate parts working as a powerful, often beautiful whole. For its very lucky viewers, it’s a sign from television heaven that rumors of Peak TV’s demise have been greatly exaggerated. That crazy frisson you feel while watching the best shows, where you start each episode having no clue what will happen, but every confidence that it will somehow feel right? The Leftovers is one of the chosen few that can give it to you.