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TWIN PEAKS


Romão

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8 hours ago, Jay said:

I think they stretched an originally intended 9 episodes out to 18, and most episodes end up with a slow pace because of it (because they hold on each shot longer before cutting to the next, have redundant dialogue instead of zipping through things, etc).

 

 

The whole pacing "issue" seems so deeply ingrained in the fabric of this series, I really think that *if* it came to be only by extending the original shorter run to 18 episodes, then part for the extension was that Lynch *wanted* it this way.

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8 hours ago, Marian Schedenig said:

The whole pacing "issue" seems so deeply ingrained in the fabric of this series, I really think that *if* it came to be only by extending the original shorter run to 18 episodes, then part for the extension was that Lynch *wanted* it this way.

 

Exactly. The Lynch who did this (and INLAND EMPIRE) is not the same Lynch who did the more accesible "middle movies" WILD AT HEART and BLUE VELVET. People have to realize that. He's been going back more to his ERASERHEAD roots, if anything, in the last few years. This also encompasses his non-film work.

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6 hours ago, Quintus said:

I love the weirdly bad special effects!

 

But Quint, she put her drink down right on the end table, no coaster.  She doesn't respect wood!

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15 hours ago, Marian Schedenig said:

 

 

The whole pacing "issue" seems so deeply ingrained in the fabric of this series ...

 

What do you mean "in this series"? In Twin Peaks in its entirety? Because the pacing was quite different in the first 2 seasons. 

 

My idea is that Lynch didn't want to repeat himself too much with S3. I'm not sure if the slowness adds anything though. I often think it doesn't.

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So does the fact that the Diane we've seen all season was a cloned body like Dougie mean that the real Diane could still be a live and show up as well?

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17 minutes ago, Jay said:

So does the fact that the Diane we've seen all season was a cloned body like Dougie mean that the real Diane could still be a live and show up as well?

 

Possibly. Or that she's dead. The mind boggles if I start to think that she's been a clone all along; all the way back to the original run. If so, talk about planning in the long run!

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Was the story clone Diane told about being raped by Coop supposed to have taken place before he arrived in Twin Peaks to investigate Laura Palmer's death?

 

I thought it was something Evil Coop did to her after

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She did say "I am in a sheriff's station" in her breakdown.  Why she looks the way she does, and why the real Diane would be so important - I'm not sure. 

 

TP theorist weirdos have also noted that Naido (the eyeless character's credited name) is O Dian backwards, for whatever that's worth.

 

Of course, Nadine is an anagram of N Diane, so MAYBE DIANE IS NADINE ;)

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It really was wonderful seeing the real Coop back in this episode.  Kyle M was great!  "I am the FBI" was great too.

 

I liked the neirhborhood road shootout, too.  Good way to kill off the assassin couple, and the casino brother's reaction from the front of the house was great.

 

Clone Diane turning into the seed was like Monty Python animation

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2 hours ago, Alexcremers said:

What do you mean "in this series"? In Twin Peaks in its entirety? Because the pacing was quite different in the first 2 seasons. 

 

 

Third season. Some sites seem to list S3 as a distinct series compared to the original two-season run. Or you could just take the term's British meaning. ;)

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I've never seen TP: TR referred to as "season 3" in any official capacity.  In interviews, Lynch and Frost seem to pose this as an 18-hour movie set in the Twin Peaks world - in that parlance, it's no more "Season 3" than FWWM was.

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1 hour ago, Jay said:

Was the story clone Diane told about being raped by Coop supposed to have taken place before he arrived in Twin Peaks to investigate Laura Palmer's death?

 

I thought it was something Evil Coop did to her after

 

It was. The incident she describes (whether truthful or not) takes place a few years after the end of season 2, hence with Evil Coop.

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46 minutes ago, Jay said:

So then what are you talking about reevaluating the original run then?

 

It was just a thought. That Diane was a 'clone' all along (again; the story she tells to Cole et.al. isn't necessarily truthful). Perhaps there was no original Diane to begin with. One can go mad thinking about such things. But I prefer the more sober version of the original Diane being around somewhere.

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At least he doesn't discriminate on age. He also has a thing for Laura Dern and Monica Belluci etc., and they're in their 50s. So it's not all 20-something hotshots.

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I think it's pretty hard for me to be let down once I'm enjoying something, but I think I've been let down by this in the end.

Took this revival as an excuse not only to become familiar with the existing show, but the rest of Lynch's work.  I formed an opinion of solo Lynch, which I have to say wasn't particularly glowing, but felt that coupled with Frost and the format of long form television, he yielded some truly great stuff.  

And I maintained that opinion throughout The Return.  All the things that seemed to bug many didn't really bug me.  There is a lot to be said for a deliberate pace, for teasing and vagueness and wallowing in mystery and questions.  Until episode 18, I think they managed this quite well and never once stepped over the line into stylistic masturbation.

But where the story has ultimately ended up - and if it hasn't ultimately ended up here, I think my complaints are moot - is difficult for me to get behind.  I'm sure the two choruses will be "garbage" and "classic Lynchian genius!"  Well, it certainly is classic Lynch, but classic Lynch just doesn't jive with me and I'd hoped that it would be kept at bay here as it had for the previous episodes.  It was not.

Again, there is a place, a place I very much value, for all of the things that Lynch's style embodies.  Ultimately, for me, he just takes it too far and it feels, to use that word again, masturbatory.  But it isn't only a question of overdoing certain elements.  This is an aesthetic that I think only can work if you truly feel some inner logic, an unshakable, though perhaps invisible, foundation beneath the apparent nonsense.  And I didn't feel that in this last hour.  

If you have ever heard Lynch talk, you're probably familiar with his rather succinct attempts to sum up what it is that he does as "catching the ideas" and going where they lead.  Well, my gut reaction right now is that they should have reigned in the ideas a little and gotten their bearings.  But I fully reserve the right to change my opinion completely.

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Yeah, this left me really hollow honestly. Not only am I confused (and not in a good or fun way), but it all just felt robbed of all the momentum. The first 2/3 of episode 17 were dynamite and just what likely everyone wanted and expected. But of course, in true Lynch fashion, he then took it into another direction.

And this time, in the CONTEXT of this series, I think he went too far. It's crazy that a single episode and a 1/3 of the one before can essentially ruin a series for me, but I feel like this one did. Unless they REALLY do plan to continue the story, this was a horrible way to end it all in my opinion. Perhaps it is better just to accept the cliffhanger of season 2 as the true ending...

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I think this is one of the greatest things on television ever, and I stand by that after having seen the final two episodes now. OK, so it ends on another cliffhanger (a "screw you" to those who wanted the closure that the original run didn't have), but in a way it feels more closed than that. Even if they don't do another season. Lynch's absolute refusal to do traditional storytelling is something I really admire -- we need that kind of integrity and arthouse aesthetic in mainstream television.

Once I got over the fact that this wouldn't be a nostalgia trip (the only bit of Cooper in Twin Peaks in the whole of season 3 was really the quick sherriff station entrance in the penultimate episode, as well as driving past a closed R&R in the last), I marveled at the episodes and segments where he went all out 'art gallery installation'. Those are my favourite moments. I have some minor issues here and there, but I'm not confident these issues have more to do with nostalgia than a fair evaluation of what this particular project is (like the absence of music in the more humourous moments, the Audrey Horne storyline -- which wasn't explained in the end).

Fantastic show altogether! I'd welcome another season, but doubt it's going to happen. And if it doesn't, this can stand alone perfectly well.

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