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Romão

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I have not seen it, no. I'm always deterred by very long films, regardless of the director. 

 

Not to go on about it, but I only became short in my replies to you after you chimed in with your eye rollingly patronising "Perhaps Lynch isn't for you" remark. You should have expected my tone afterwards. 

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I can see how it can be interpreted that way, but it was meant genuinely, as in 'perhaps his style of filmmaking is not to your preference', not "Lynch is too advanced for you'.

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Commonsense really ought to have informed you that my being in this thread and with a Twin Peaks avatar to boot that the chances of this being the case was unlikely, but never mind. 

 

10 hours ago, Thor said:

I actually wanted it to last longer.

 

If there's one thing certain about this life, it's that the shorter JWFan would prefer something to be; Thor would want it to be longer. ;)  

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12 minutes ago, Quintus said:

 

Yup, it's also on the DVD Gold Box set. Also check out Conan O'Brian as the guard by the door!

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In the same episode, the monologue was Twin Peaks-based.  If I recall correctly, Kyle nonchalantly revealed the killer as Shelly, and "David Lynch" yelled at him.

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This is for you, Quintus. The writer pretty much mirrors my own view on the sequence in question:

 

https://mubi.com/notebook/posts/twin-peaks-episode-5-recap-i-love-how-you-love-me

 

Many other interesting observations in that article too, like:

 

Quote

Buenos Aires also happens to be the last known location of Cooper's FBI colleague Phillip Jeffries, played by the late David Bowie in Fire Walk With Me. Since Michael J. Anderson's Man From Another Place was recast as a digital electric tree in this new series why not turn Ziggy Stardust into a charcoal-colored container? Makes sense to me.

 

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Thor, I already knew what you were getting at when I originally discussed it with you. I simply disagree with you that the shot in question has the degree of merit and meaning that you think it has. You seem to believe it was full of visual metaphor and poetry; I thought it was intrusive fluff. Another dragged out scene in an episode which already had quite a few boring parts. Like some of the comedy before it; the up to now "un-earned" Seyfried shot is just another moment which fell flat for me.

 

This is literally no different to a person gazing at a photograph or a painting and saying to the person beside them, "isn't this such a beautiful picture?" and the other person replying, "nah, it doesn't do anything for me."

 

Don't worry about it, I'm bored of going on about it now. It's just one little shot I wasn't keen on. 

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Did you read the article I linked to? It might provide a different perspective for you. Or not. It's not just "one little shot". It's the most quintessential Lynch shot of the whole episode (and perhaps the whole series so far).

 

It also has a few observations beyond that that should be interesting to you as a David Lynch and TWIN PEAKS fan.

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25 minutes ago, Thor said:

Did you read the article I linked to? It might provide a different perspective for you. Or not. It's not just "one little shot". It's the most quintessential Lynch shot of the whole episode (and perhaps the whole series so far).

 

To you not me.

 

I had a quick look at the article before I replied to you before, it's no more an authority on the matter than you are. 

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OK. For those too lazy to click the link, here are the pertinent paragraphs:

 

Quote

The key image in Part 5 of the revived Twin Peaks is of a woman in ecstasy. Recall, however, the subtitle that series co-creator/director David Lynch appended to his thorny 2006 masterpiece Inland Empire: "A Woman in Trouble." The line separating rapture and anguish is a blurry one, especially for Lynch's ladies, who are as likely to end up exquisitely chiseled corpses (the ubiquitous Laura Palmer; Part 2's doomed henchwoman Darya) as they are world-weary survivors.

 
For the moment, let's focus on Rebecca "Becky" Burnett (Amanda Seyfried), daughter of RR Diner waitress Shelly Johnson (Mädchen Amick), though Becky's last name—taken from ne'er-do-well husband Steven Burnett (Caleb Landry Jones)—obscures the identity of her father. (Dana Ashbrook's now-law-abiding Bobby Briggs is the most likely candidate, but I wouldn't be surprised if Lynch and co-writer Mark Frost throw a wrench into those narrative works.) Becky comes into the RR about midway through the episode, approaches Shelly, and asks her, after some prefatory fibbing, for money. We see and hear all this from a distance, from the perspective of RR owner Norma Jennings (Peggy Lipton)—three generations of Twin Peaks women interacting in a kind of prismatic arrangement: Norma's voyeurism filtering through Shelly's motherly concern culminating in Becky's big little lies.
 
"If you don't help her now, it's gonna get a lot harder to help her later," says Norma to Shelly. "We both know that tune, don't we?" she replies, invoking the dual specters of her abusive ex Leo Johnson (Eric DaRe, who apparently won't appear on the new series) and of "Big" Ed Hurley (Everett McGill, who definitely will show up), with whom Norma had an ill-fated love affair. It's clear both women have been through a wringer and emerged taxed and tired; when Norma and Shelly each put an arm around the other, it's with the familiarity of people who have persevered through the worst and continue to deal with the fallout. 
 
It's at this point that Lynch cuts to Becky and Steven in the latter's Thunderbird, in a composition that recalls Shelly and Bobby's clandestine canoodling in the original series's pilot episode. This time, however, Shelly is on the inside looking out (at her own flesh-and-blood, no less), and the overall mood is defeatist as opposed to energized. (Very this-has-happened-before-and-will-happen-again.) It doesn't help that Steven seems like the worst aspects of Leo and Bobby combined, nor that he offers his young wife the remnants of the cocaine that he's been inhaling all day. Seyfried has never been better onscreen than she is here: She snorts the drug, slowly becoming distractedly moony and euphoric. And it's at that point that Lynch cuts to a blood-curdling overhead shot of Becky—scored to The Paris Sisters' "I Love How You Love Me" and held, like so many images in this new series, far past the point of comfort—in which she loses herself in drug-addled jubilation. She is who she is. Yet Becky is simultaneously a tragic descendent of Lynch women past—certainly Laura Palmer (whose fate, this scene suggests, she may ultimately share), but also Mulholland Dr.'s ill-omened Betty/Diane, a plucky, beaming ingenue chewed up and spit out by the male-dominated Hollywood machine. 

 

 

Couldn't have said it better myself!

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8 minutes ago, Thor said:

"If you don't help her now, it's gonna get a lot harder to help her later," says Norma to Shelly. "We both know that tune, don't we?" she replies, invoking the dual specters of her abusive ex Leo Johnson (Eric DaRe, who apparently won't appear on the new series) and of "Big" Ed Hurley (Everett McGill, who definitely will show up), with whom Norma had an ill-fated love affair.

 

 

She's not (as far as we know) invoking Big Ed!  He was nothing but tender to her on the show.  She's invoking her own abusive husband, Hank!

 

SO ANGRY AT WHOEVER!

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7 minutes ago, mstrox said:

 

She's not (as far as we know) invoking Big Ed!  He was nothing but tender to her on the show.  She's invoking her own abusive husband, Hank!

 

SO ANGRY AT WHOEVER!

 

No, I think the 'dual specter' in this case refers to Shelley's Leo on one hand, as in "she should have called it off earlier", and then Norma's unconsummated relationship to Ed on the other, as in "they didn't act on their love when they had the chance, and then the moment passed".

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My read on the scene was that Shelly and Norma were looking at Shelly's daughter falling in with a dirtbag husband, and reflecting that they both married young to total dirtbags.  In the process, Norma let Ed "get away," although we don't really know what happened in the 25 years since the finale (at that point, Norma and Ed were together, but Nadine was conscious/aware; Norma intended to divorce Hank).

 

According to the Secret History of Twin Peaks book, Hank

Spoiler

was killed by a Renault in jail

shortly after S2, btw.

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Yeah, what a tragic turn of events that would be. Ed and Norma get together (after all, we only see Nadine alone in this episode, listening to Jacoby's broadcast), only to have Ed become abusive -- just like Hank! Seems unlikely.

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4 minutes ago, Stefancos said:

Mr. H!

 

That would be awesome!

 

Cut to a six-hour scene in Kansas, where a third Big Ed (named "Froderick") silently mills about confused and rediscovers his love for gas pumps and eyepatches.

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For the even more lazy (or pressed for time, or just disinterested) here's Thor's post edited down for the actual pertinent paragraph:

 

Quote

Seyfried has never been better onscreen than she is here: She snorts the drug, slowly becoming distractedly moony and euphoric. And it's at that point that Lynch cuts to a blood-curdling overhead shot of Becky—scored to The Paris Sisters' "I Love How You Love Me" and held, like so many images in this new series, far past the point of comfort—in which she loses herself in drug-addled jubilation. She is who she is. Yet Becky is simultaneously a tragic descendent of Lynch women past—certainly Laura Palmer (whose fate, this scene suggests, she may ultimately share), but also Mulholland Dr.'s ill-omened Betty/Diane, a plucky, beaming ingenue chewed up and spit out by the male-dominated Hollywood machine

 

 

 

 

 

 

31 minutes ago, mstrox said:

 

She's not (as far as we know) invoking Big Ed! 

 

19 minutes ago, mstrox said:

My read on the scene was that Shelly and Norma were looking at Shelly's daughter falling in with a dirtbag husband, and reflecting that they both married young to total dirtbags.  In the process, Norma let Ed "get away," although we don't really know what happened in the 25 years since the finale (at that point, Norma and Ed were together, but Nadine was conscious/aware; Norma intended to divorce Hank).

 

According to the Secret History of Twin Peaks book, Hank

  Reveal hidden contents

shortly after S2

 

How dare you. 

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Yeah, it can be frustrating when approached as 'straightforward' storytelling. Trying to make sense of certain Lynch narratives is almost equal to picture the 'infinity of the universe'. At some point, I just have to give up and focus my attention and what we DO know, and let the rest be left to the 'inexplicable'.

 

Last night's episode was a bit of that. Very little in terms of moving the plot forward, but the introduction of even more characters and situations. The biggest reveal was obviously

Spoiler

Laura Dern as Diane -- something we already surmised earlier in the thread.

 

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On ‎6‎/‎11‎/‎2017 at 8:54 AM, BloodBoal said:

And regarding that ring, The Missing Pieces both helped making things a bit clearer and at the same time more confusing... It seems the ring allows its bearer to travel through time (or at least contact people in the past: that's how Annie got to talk with Laura, while her body was still in the "present") and possibly through space (this could explain how Philip Jeffries suddenly ended up in Buenos Aires as he was talking with Cooper and co, though it's unclear if he actually had the ring). At the same time, it's unclear if there is more than one ring, or why Mike gave the ring to Laura as Bob was raping her (according to some people, it's apparently what forced Bob to kill her, because she couldn't be his now?), or how Annie ended up with the ring on her finger, or why Teresa Banks had it too or why Dougie had it too, and why both had the same arm problem. It looks like Dougie started suffering from that as he was being sent back to the Black Lodge... But that was because he had been "created" by Bob. Why would Teresa Banks had the same problem, when she was apparently just a regular person that ended up being killed by Bob? The arm thing may have something to do with Mike and his missing arm of course. But why? My head is starting to hurt...

 

The Ring is maybe one of TP's biggest question marks, and I had a theory that fit pretty soundly in the 20+ years after Fire Walk With Me, but that this series and the ring's use on Dougie kind of muddies that for me.  I think the fluctuation of time and space is not so much a function of the ring, as it is a function of the Black Lodge.  Cooper's first Lodge visit in season 1 episode 2 was "25 years later."   A line that appears in the Lodge - twice in The Missing Pieces and once in the new series: "Is it future or is it past?"  Just seems to me that time is more fluid in that location.

 

 

EPISODE 6:

 

With Mike's appearance to Cooper urging him to wake up and don't die, and the threat of Cooper getting icepicked by some maniac soon, I'm confident that the looney Dougie storyline will be wrapping up soon.

 

The car accident scene was pretty heartbreaking - and if I'm not mistaken, maybe the first major new Badalamenti piece in the series?  I know the jazzy thing that plays over DougieCoop's statue watch and his insurance paperwork review is not Angelo.

 

Interesting that Red (the guy who we saw flirting with Shelly in the first episode) is some sort of drug dealing badass monster.  Hopefully Shelly doesn't end up involved with him.

 

Also interesting to see Richard Horne (also set up in the previous episode to be an awful badass) immediately dressed down/emasculated by Red.  Still a monstrous character, but not the cool-as-a-cucumber villain we were led to expect in pt. 5.

 

We got our first mention of Linda this week (i.e. Richard and Linda?) - the woman who got a new VA electric wheelchair at the trailer park.

 

Most intriguing will be whatever note was jammed into the bathroom stall door at the Sheriff's station.  Did Cooper write it?  Mr. C? Major Briggs? Somebody else?  Why hide it where nobody will find it?  Is it a BOB thing - like jamming the letters into the fingernails?

 

DIANE!

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22 minutes ago, Thor said:

Yeah, it can be frustrating when approached as 'straightforward' storytelling. Trying to make sense of certain Lynch narratives is almost equal to picture the 'infinity of the universe'. At some point, I just have to give up and focus my attention and what we DO know, and let the rest be left to the 'inexplicable'.

 

Last night's episode was a bit of that. Very little in terms of moving the plot forward, but the introduction of even more characters and situations. The biggest reveal was obviously

  Hide contents

Laura Dern as Diane -- something we already surmised earlier in the thread.

 

 

You don't need to spoiler-block anything that's already aired

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Some speculation I saw on a Twin Peaks board re: the papers in the bathroom door:

 

Spoiler

The one-armed man was in that bathroom stall in Season 2, and there are missing page of Laura's diary... torn up diary was found at Laura's crime scene, and the One-Armed Man was there (FWWM).

 

From Laura's vision in FWWM:  "My name is Annie, and I've been with Laura and Dale. The good Dale is in the Lodge, and he can't leave. Write it in your diary."

 

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I think that's why I really liked yesterday's episode. It finally gave this season a big, dramatic, emotional moment; complete with that really nice musical composition. Despite seeing the accident coming a mile away, it was still pretty hard to watch. Clearly there will be more to this moment later in the season, and perhaps the big, sometimes almost amusingly overblown emotional moments I loved from Twin Peaks will be found with this thread of the story; since clearly they didn't go this route with the big double murder of the season, at least thus far.

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1 hour ago, Thor said:

So it's the first new Badalamenti composition on the show?

 

I believe in part 5 there was a Badalamenti composition/co-composition that was cited in the "songs" at the end of the episode, which I had never heard before

 

EDIT:  "Solo Waltz" featuring Grady Tate, according to the updated tracklist for the soundtrack

https://www.amazon.com/Twin-Peaks-Limited-Event-Soundtrack/dp/B071LTP1C4/ref=sr_1_1_twi_mus_1?ie=UTF8&qid=1497289384&sr=8-1&keywords=twin+peaks+event+soundtrack

 

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Watched the episode. It was an improvement over last week's. I'm really hoping Dougie's story is this season's James and Evelyn equivalent low point, and that we're almost out of the woods with it. 

 

And thank god the music is finally creeping back in. 

 

My guess is the pages hidden in the door are from the diary, but I suppose that's too obvious so it's probably something entirely different.

 

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If you have the stomach for fan wank navel gazing, I recommend Entertainment Weekly's analysis:

 

http://ew.com/recap/twin-peaks-season-3-episode-3-4/7/

 

The comments are positively blown away by that guy's scholarly insight, but I just found it a bit much. Maybe you'll appreciate it better, Thor. 

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Very good ep and certainly an improvement over last week's. I might be in a minority here, but I find the "Dougie" parts of the show consistently the most involving. Kyle MacLachlan somehow makes this gormless idiot incredibly moving.

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It seemed to me like they went out their way to make Diane's physical appearance to be as far removed from what we had imagined or expected as possible. A tad contrived just for the hell of it for me, but I'm not going to make any judgements on Dern's role or the character just based on that one reveal. She could turn out to be a terrific addition. 

 

The killer midget is new. His first target was featured right at the beginning of last week's episode, panicking about a job not being carried out. Concerned for her safety. 

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According to the MUBI article, the victim of the midget attack was the woman who had planned a hit on Doug Jones in the previous episodes.

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Latest episode was a much-needed improvement from last week's. All it's beats hit bigger strides. Nice to finally see Dougie starting to "wake up", especially with that "make sense of it" punch line. Would have been nice if the plotline came to this point sooner without all the meandering filler before. I like the opening music for his scenes as well. Is that Badalamenti's?

 

I had mixed feelings about the absurdity of the boy's death scene (and the likely intentional, bad acting from the extras), but it felt very at home in Twin Peaks. Psycho midget assassin was also a welcome addition.

 

I guess we'll just have to see how it all comes together, if it does at all.

 

Oh and Diane looks great!

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8 hours ago, KK said:

I had mixed feelings about the absurdity of the boy's death scene (and the likely intentional, bad acting from the extras), but it felt very at home in Twin Peaks.

 

Loved that scene. The mix of tone and emotions is VERY Lynch. Check out the aforementioned MUBI article on that scene (I know I keep referencing that writer a lot, but I think he really manages to catch the essentials of the Lynch aesthetic in this series).

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I must say the degree of brutal graphic violence has come as a surprise. I'm not convinced it's justified just yet either, or at least its regularity. Sometimes it can be more powerful when it never happens but is suddenly introduced. That can leave a lasting feeling of shock, but the effect will be lessened if it's something we come to get used to and even prepare for. 

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57 minutes ago, Thor said:

 

Loved that scene. The mix of tone and emotions is VERY Lynch. Check out the aforementioned MUBI article on that scene (I know I keep referencing that writer a lot, but I think he really manages to catch the essentials of the Lynch aesthetic in this series).

 

I've come to really like it as well. Thinking back to it now, there isn't anything about it I'd change, including the jarringly graphic death of the boy. The absurdity of it all is just right.

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