![]() ![]() ![]() They’re both broken but can’t seem to reach each other, nor can she reach the “other side,” or where she imagines her broken children have gone. The slinky sad "This Love is Over" by Ray LaMontagne and the Pariah Dogs opens in “G’Day Melbourne,” the episode that culminates in the break-up of Kevin and Nora-and the same episode that delivers three different versions of A-Ha’s “Take On Me,” in very different settings, to convey very different moods, the original playing as Kevin drives off with his dad and leaves Nora alone in their hotel room getting soaked by the fire alarm sprinkler. (She lost her entire family and spends much of the show coming to grips with it, or pretending she's fine when really she's so, so not.) Or Richard Cheese’s jaunty version of Depeche Mode’s “Personal Jesus” opening “Crazy Whitefella Thinking,” which follows Kevin’s dad on his journey to stop the end of the world singlehandedly (or so he thinks), while also subtly referencing his Jesus figure son, the walking miracle who came back from death multiple times. ![]() Like the Perfect Strangers theme in the second episode, “Nothing's Gonna Stop Me Now," where Nora goes to meet Mark Linn-Baker, the only remaining cast member of that ‘80s-era show who didn’t Depart, who lures her in because he's found a way to potentially join the Departed. Not to mention Season 3’s mode of switching up the tunes that run with the opening credits to set the tone and foreshadow what’s about to happen. But the show wouldn’t work so well on an emotional level without a soundtrack that deftly taps (mostly) modern music to carry the mood and narratives along for each episode. ![]()
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