The day after the party and Kevin’s ill-fated attempt at reconciliation, he returns to Nora’s isolated house to come clean. Then there’s the final chapter, and it’s the one that matters. There’s a ton of Billie Holiday and an incredible dance-funk jam from Procol Harum’s Robin Trower. There’s a nun who has sex with a hunky biker dude. There are revelations about the rest of the cast, both minor (Jill Garvey is in a great marriage, Tommy’s didn’t work out) and major (Matt is dead, but he died reconciled with his wife, Mary Laurie Garvey is alive and didn’t commit suicide by scuba dive after all, and she alone knows where Nora’s been hiding all this time.) There are animals in peril, from trained doves who disappear after their release at a wedding reception to a “scapegoat” goat who gets caught on a barbed-wire fence because the partygoers festooned him with Mardi Gras beads.
It rolls right into the dual mysteries of what happens between then and our next glimpse of Nora, now a significantly older woman, and whether the Kevin Garvey who shows up on her doorstep saying that they’d only ever had one brief conversation back in Mapleton, New York, is telling the truth.
(“The Department of the Sudden Diarrhea” is a gem.) It includes her scientifically induced Departure, which seems constructed solely from imagery pried from nightmares: human remains, creepy dolls, vulnerable nudity, traumatic memories, inexplicable machinery, harrowing claustrophobia, disorienting noises, the fear of drowning. It continues through her heartwarmingly funny farewell to her brother, Matt, as they compose her obituary with an ad hoc game of MadLibs. It begins with an extended look right into the face of Nora Durst (Carrie Coon, in the final act of one of TV’s all-time great performances) as she willingly chooses to risk annihilation in an attempt to re-create the Sudden Departure and reunite with her long-lost children.
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