T W I N P E A K S {Season 3: May 21st}

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T W I N P E A K S {Season 3: May 21st}

#1

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How have I not already made a thread about this?

Anywho, after 25 years of nuttin', Twin Peaks is back. Every episode co-written by David Lynch and Mark Frost.

Every single episode directed by David Lynch. To put this in perspective, he only directed 6 of the original series.

Early reports suggest up to 18 frigging episodes.

18 hours of damn-fine Lynch/Frost Twin Peaks.

Filming wrapped months ago, by the way. Now we're just waiting on post-production.

I am dangerously overhyped for this show.

And if that wasn't enough, Mark Frost wrote a book to help bridge the gap in-between the original series and the new season. It's coming out on October 18th.

I am also dangerously overhyped for it too.

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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#2

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Also, a complete cast list has been released.
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Jay Aaseng
Alon Aboutboul
Jane Adams
Joe Adler
Kate Alden
Stephanie Allynne
Mädchen Amick*
Eric Ray Anderson
Finn Andrews
Elizabeth Anwies
Dana Ashbrook*
Joe Auger
Phoebe Augustine*
Melissa Bailey
Tammie Baird
Matt Battaglia*
Chrysta Bell
Monica Bellucci
Jim Belushi
Leslie Berger
Richard Beymer*
John Billingsley
Michael Bisping
Ronnie Gene Blevins
Kelsey Bohlen
Sean Bolger
Rachael Bower
Brent Briscoe
Robert Broski
Wes Brown
Richard Bucher
Page Burkum
Scott Cameron
Juan Carlos Cantu
Gia Carides
Vincent Castellanos
Michael Cera
Richard Chamberlain
Bailey Chase
Johnny Chavez
Candy Clark
Larry Clarke
Scott Coffey
Frank Collison
Lisa Coronado
Catherine E. Coulson*
Grace Victoria Cox
Jonny Coyne
James Croak
Julee Cruise*
Heather D'Angelo
Jan D'Arcy*
David Dastmalchian
Jeremy Davies
Owain Rhys Davies
Ana de la Reguera
Rebekah Del Rio
Laura Dern
Neil Dickson
Hugh Dillon
Cullen Douglas
Edward "Ted" Dowlin
Judith Drake
David Duchovny*
Christopher Durbin
Francesca Eastwood
Eric Edelstein
John Ennis
Josh Fadem
Tikaeni Faircrest
Eamon Farren
Sherilyn Fenn*
Jay R. Ferguson
Sky Ferreira
Miguel Ferrer*
Rebecca Field
Robin Finck
Brian Finney*
Patrick Fischler
Erika Forster
Robert Forster
Meg Foster
Travis Frost
Warren Frost*
Pierce Gagnon
Allen Galli
Hailey Gates
Brett Gelman
Ivy George
Balthazar Getty
James Giordano
Harry Goaz*
Grant Goodeve
George Griffith
Tad Griffith
James Grixoni
Cornelia Guest
Travis Hammer
Hank Harris
Annie Hart
Andrea Hays*
Stephen Heath
Heath Hensley
Gary Hershberger*
Michael Horse*
Ernie Hudson
Jay Jee
Jesse Johnson
Caleb Landry Jones
Ashley Judd
Luke Judy
Stephen Kearin
David Patrick Kelly*
Laura Kenny
Dep Kirkland
Robert Knepper
David Koechner
Virginia Kull
Nicole LaLiberte
Jay Larson
Sheryl Lee*
Jennifer Jason Leigh
Jane Levy
Matthew Lillard
Jeremy Lindholm
Peggy Lipton*
Bellina Martin Logan*
Sarah Jean Long
David Lynch*
Riley Lynch
Shane Lynch
Kyle MacLachlan*
Mark Mahoney
Karl Makinen
Malone*
Xolo Maridueña
Berenice Marlohe
Rob Mars
James Marshall*
Elisabeth Maurus
Josh McDermitt
Everett McGill*
Zoe McLane
Derek Mears
Clark Middleton
Greg Mills
James Morrison
Christopher Murray
Don Murray
Joy Nash
Priya Diane Niehaus
Bill O'Dell
Casey O'Neill
Johnny Ochsner
Walter Olkewicz*
Charity Parenzini
Elias Nelson Parenzini
John Paulsen
Sara Paxton
Max Perlich
Linas Phillips
Tracy Phillips
John Pirruccello
Linda Porter
Jelani Quinn
Ruth Radelet
Mary Reber
Adele René
Mariqueen Reznor
Trent Reznor
Carolyn P. Riggs
Kimmy Robertson*
Wendy Robie*
Erik L. Rondell
Marv Rosand*
Ben Rosenfield
Tim Roth
Rod Rowland
Carlton Lee Russell*
Elena Satine
John Savage
Amanda Seyfried
Amy Shiels
Sawyer Shipman
Tom Sizemore
Sara Sohn
Malachy Sreenan
Harry Dean Stanton*
J.R. Starr
Bob Stephenson
Charlotte Stewart*
Emily Stofle
Al Strobel*
Carel Struycken*
Ethan Suplee
Sabrina S. Sutherland
Jessica Szohr
Russ Tamblyn*
Bill Tangradi
Cynthia Lauren Tewes
Jodee Thelen
Jack Torrey
Sharon Van Etten
Eddie Vedder
Greg Vrotsos
Jake Wardle
Naomi Watts
Nafessa Williams
Ray Wise*
Alicia Witt*
Karolina Wydra
Charlyne Yi
Nae Yuuki
Grace Zabriskie*
Christophe Zajac-Denek
Madeline Zima
Blake Zingale
In addition to the old cast members we have a veritable who's who of Lynch stable favorites. (Naomi Watts! Laura Dern! Balthazar Getty! Patrick Fischler! Rebekah Del Rio!)

Aaand a whole bunch of new stars some of which are down right bizarre. (Amanda Seyfried! Robert Forster! Jennifer Jason Leigh! Tom Sizemore! Jim Belushi! Tim Roth! Monica Belushi! Sharon Van Etten! Trent Reznor!)

And Micheal Cera, who I suspect is replacing Frank Silva as BOB.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#3

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It's really a remake of Mulholland Drive.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#4

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I should watch it eventually.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#5

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Does this mean we'll get to see a Twin Peaks Mafia 2? :D
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#6

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Epignosis wrote:
Spoiler: show
It's really a remake of Mulholland Drive.
Spoiler: show
You jest, but David Lynch has said in interviews that he considers all of his work to exist in the same universe. He's also said that the Mystery Man from Lost Highway comes from the same place as BOB in Twin Peaks, although that could easily mean that the MM is a manifestation of psychological turmoil, instead of him literally being from the Black Lodge. Sheryl Lee, who played Laura Palmer, has a quick blink-and-you'll-miss-it cameo in the Club Silencio scene in Mulholland Drive. Inland Empire has the most of these David Lynch Cinematic Universe references, with Laura Dern playing an actor who, to put it simply, loses her identity and sense of self, and at one point in the film, seems to cycle between her previous DL characters from Blue Velvet and Wild At Heart. Also, the three main actors from Mulholland Drive show up in Inland Empire. Justin Theroux plays a famous hot-shot actor, Naomi Watts and Laura Elena Harring voice bizarre anthropomorphic rabbits who seemingly exist in some sort of purgatory. Of course, in Mulholland Drive, both of their characters die, while Justin Theroux's lives on. Their appearances in Inland Empire could be interpreted as Watts and Harring in the afterlife, while Theroux exists in the "real world". The ending of Inland Empire, where Laura Dern's character does seem to pass from this plane of existence into a new one, and meets Laura Elena Harring who then winks at her and proceeds to participate in a rousing lip-sync battle set to Nina Simone's "Sinnerman", definitely encourages this line of thinking.

The new season of Twin Peaks has the most returning Lynch actors out of everything he's ever done, and considering his last film before making the series was the self-referential Inland Empire, it wouldn't surprise me if Naomi Watts reprises her performance as Diane Selwyn in some way.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#7

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Ricochet wrote:
Spoiler: show
I should watch it eventually.
Yes, I've heard it's quite good. :solitary:
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

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MovingPictures07 wrote:Does this mean we'll get to see a Twin Peaks Mafia 2? :D
I still haven't done Twin Peaks: Fire Walk With Me Mafia. :feb:
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

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Speaking of David Lynch, I've got my father and brother watching Mulholland Drive and they have no clue what the hell is going on. :haha:
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#10

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JaggedJimmyJay wrote:Speaking of David Lynch, I've got my father and brother watching Mulholland Drive and they have no clue what the hell is going on. :haha:
Have they gotten to the Club Silencio scene yet? Tell me if they manage to piece it together. I love hearing people's first reactions to that film.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#11

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I've never seen the film. If I watch it, I'll let you know my first impressions.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#12

Post by JaggedJimmyJay »

insertnamehere wrote:
JaggedJimmyJay wrote:Speaking of David Lynch, I've got my father and brother watching Mulholland Drive and they have no clue what the hell is going on. :haha:
Have they gotten to the Club Silencio scene yet? Tell me if they manage to piece it together. I love hearing people's first reactions to that film.
My dad gave up well before the ending, and my brother just said "explain it to me because I'm not watching that again". XD

I explained what I could. There are pieces of the film I still don't understand after four viewings. It's still one of my favorites though.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#13

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JaggedJimmyJay wrote:
insertnamehere wrote:
JaggedJimmyJay wrote:Speaking of David Lynch, I've got my father and brother watching Mulholland Drive and they have no clue what the hell is going on. :haha:
Have they gotten to the Club Silencio scene yet? Tell me if they manage to piece it together. I love hearing people's first reactions to that film.
My dad gave up well before the ending, and my brother just said "explain it to me because I'm not watching that again". XD

I explained what I could. There are pieces of the film I still don't understand after four viewings. It's still one of my favorites though.
Bunch of cowards. You should lock them in a room with Inland Empire playing on a loop for 12 hours for such heresy. :srsnod:

What parts of the film do you not understand? For me, I've always been a little bit stymied by the Cowboy and the Homeless Man Behind Winkies. My loose interpretation is that they represent the classic dichotomy between order and chaos, God and the Devil, Acceptance/Judgement and Furious Indignance. As with all the best Lynch characters, they can be read as omniscient spiritual figures of unknown power and origin, or simple psychological concepts made physical, a surreal warped reflection of aspects of one's self that we desperately try to hide from.

The best and most effective examples of these figures are the Black Lodge spirits from Twin Peaks. I could write a damn 40-page essay on the relationship between
Spoiler: show
BOB and Leland Palmer.
Of course, the film itself can be seen as a failed vision quest. Diane Selwyn came to Hollywood after winning a Jitterbug contest and knew that she was destined for great things. Except she wasn't. She failed. Miserably. The entire first part of the film is about a shadowy Hollywood conspiracy made up of corrupt shadowy authority figures who push their own secret agenda that we could only dream of knowing. Often times, people seek out conspiracy theories and focus on concepts like the Illuminati or Bohemian Grove, not out of cynicism, but out of a backward sense of hope. Hope that there is, in fact a secret plan, hope that there is an elite organization out there controlling every single aspect of the media and politics, and that it's all not one big random-ass clusterfuck. Hope that the only reason you didn't succeed is because the Powers That Be just couldn't handle how awesome you were, and not because you didn't have what it takes. Refer to The X-Files and Burn After Reading for more on this kind of stuff.

Sorry for the esoteric tangent, this is what David Lynch does to me.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

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I would say I am not clear on the exact same two things -- the scary homeless person and the cowboy. I have vague ideas of what they might represent, but nothing terribly deep.
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Re: T W I N P E A K S {Season 3: 2017-ish, New Book: 10/18}

#15

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RIP Miguel Ferrer

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Re: T W I N P E A K S {Season 3: May 21st}

#16

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Going in, starting the series. Wish me luck.
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Re: T W I N P E A K S {Season 3: May 21st}

#17

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Ricochet wrote:Going in, starting the series. Wish me luck.
Wishing you all the luck.

Would it be too much to ask for regular updates and thoughts on the episodes? I know you already write mini-essays on art films on a regular basis, so it may be asking too much, but I for one would really appreciate it.

This is my favorite show of all time, and I could listen to/watch/read discussion and analysis of it for hours on end. Note that when I say favorite, I do not mean best. The best TV show of all time is The Wire, no contest. Twin Peaks is a flawed masterpiece, but to be honest, I doubt I'd really be capable of loving a perfect work of art with all my heart the way I do Twin Peaks.

Now, Twin Peaks is essentially a balancing act between three very different television shows.
  1. 1. A police procedural about a murdered teenage girl, where each episode is a day in the investigation. Everyone's a suspect, and the death of this one person sends shockwaves throughout the entire community.

    2. A parody of 80's and 90's era soap operas featuring ridiculous exaggerated acting, labyrinthine relationships, where everyone's sleeping with each other, and pulpy storytelling is just around the corner.

    3. A bizarre avant-garde exploration of the dark side of the American psyche and the dark duality of violence and sex not only found in human nature but also in the dirt and wood of the town itself.
And for roughly the first 16-18 episodes, it works.

Then things go a little wonky. You'll know it when it starts happening.

You can choose to either skip ahead, to when it gets good again, and it does get quite good again, or you can tough it out through some rough patches.

It's a journey worth taking, and especially now considering the 18-hour-long, solely Lynch directed SHOWTIME revival this May.

We'll be getting new episodes of Twin Peaks, the Leftovers, and Fargo all at the same time, not to mention comedies like Silicon Valley and Veep.

Truly the #goldenera of #PeakTV.
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Re: T W I N P E A K S {Season 3: May 21st}

#18

Post by Ricochet »

We'll see, no promises. I'm planning to push myself to watch these over breakfast, in order to walk through it regularly and have it done come May 21, so peak analysis is probably not to be expected. Any other period of the day, I'd probably fail to keep, considering how seasons from Americans, Saul, You're the Worst and such have been sitting in their folders for months now.
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Re: T W I N P E A K S {Season 3: May 21st}

#19

Post by Ricochet »

1x00 "Pilot"
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Interesting.

First of all, I mistimed the whole breakfast thing by not realizing the pilot is like a 1h and a half movie in itself. Had to watch the last 30 minutes on my way to school.

At first level, it was real nice to finally experience a lot of the iconic cues I was familiar with, from a distance. The music (even if "LP's Theme" was overused at times). LP's dead face. LP's portrait face. And such.

Plus, damn, this has all the 90s babes. Amick. Boyle. Fenn. Hnnnng. Lynch, ya dog you.

Right, let me bring it back to slightly more academic levels of discussion. I guess that, out of your formula INH, this episode covered 1 and 2 (and may do for a while during this season). The first 30 minutes were so soapy and I got the irony of it. The fact that two or three characters went in mucus & wailing mode even before the Sheriff said a word about what happened felt so weird; I mean I literally chucked at people crying, wot - and made me wonder if said characters aren't meant, thus, to be put in the pool of suspects, in a they-knew-what-had-happened way, or if it's an (intentional) false lead. Even so, Cooper brought a whole new fresh air, once the procedural bit proceeded. I could say I love this character already. A prototype of cuckoo lead figure that's nevertheless quite sharp and one-step-ahead-of-you badass at his tasks, that we're seeing countless times in today's TV dramas/dramedies, it seems? I also liked the chemistry (or rather the off-chemistry?) of slick, spontaneous Cooper and stiff as a plank Truman (seriously, does that actor even emote with his face).

Truman: "Do you think they spotted us?"
Cooper: "Gimme a doughnut."
WAT XD

I suppose there is already a sense of weirdness and oddball, even to these expositional conventional soap & murder plot tropes, that stems from Lynch's particular handle of language. I assume anyone not familiar with this would have a "these people aren't acting very well, do they" reaction to all that mucus filled anguish and wailing. For instance, I didn't get the point of showing Josie Packard doing her eyelines and gazing slowly at Pete leaving the house, during a set piece that was clear "Pete leaves the house to find LP dead", but mixed with the music, it gave me subtle chills.

If I'd single stronger scenes from this ep, it would probably be the Donna and James meetup in the dark. I also liked the cheap texture of some of the décor, like the scene in what I assume was the town hall - as faithful as literally going up in the Carpathians at any village's cabin or restaurant. It's all shitty white drywall and shitty lumber wood.

Finally, the pool of suspects lottery - might surprise you, but even if I prepped myself on some of the weirder elements of the show when I wanted to pull a faux-Mulholland/Twin Peaks move in Triskaidekaphobia, I never happened to stumble upon the answer to "who dun it"; of course, in my great wisdom, I have already figured it out, but just to humor anyone here:

Bobby - my brain texted "HE DID NOT DO IT" way faster than Cooper typed it to Truman
James - gut tells me second hubby isn't prime candidate material either, although that "LP told me Bobby told her he killed a guy" story sounded like concocted bull
everyone who gave cried about as fake ass as Melania moans in bed... except the mother I guess

Good start, overall.
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Re: T W I N P E A K S {Season 3: May 21st}

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Spoilers for 1x00 "Pilot"
Spoiler: show
On the crying/mucus/wailing:

While certainly parodying soap opera acting, and adding a surreal touch of emotional outbursts similar to stuff in Eraserhead, and many other Lynch movies, the fact that everyone seems to already be sobbing their eyes out before they're even told of Laura Palmer's death serves to highlight the complicity that the entire town feels. Without spoiling the rest of the series, there were multiple flashing warning signs about Laura's life that many people were highly aware of.

Think back to that initial phone call between Pete and Sheriff Truman.

PETE: "She's dead...wrapped in plastic."
TRUMAN: "Slow down, Pete. Where?"

'Where,' not 'who.'

In many ways, (but not in a literal sense) the answer to "who killed Laura Palmer" is the town itself.

It takes a village to murder a child.

FUN FACTOIDS: Multiple on-set mistakes were incorporated by Lynch into the episode. Namely, the flickering light during the autopsy, the deer head on the Police Office's conference room table, and a face - belonging to a set dresser - being caught in a mirror's reflection in the next-to-last shot of Sarah Palmer screaming her lungs out.

About 50% of the cast are Lynch veterans, with Pete being the main character of Eraserhead, and Agent Cooper being the protagonist of both Dune and Blue Velvet. Blue Velvet is, in my opinion at least, a definite precursor to Twin Peaks, almost like a "dry run." However, Kyle McLachlan's characters in both stories, at first glance, seem very different.

The Pilot is the only episode of Seasons 1 & 2 to be shot in Washington. The rest were filmed in LA. However, both Fire Walk With Me and the upcoming Season 3 return to Washington, and FWWM, in particular, uses many of the same sets and locations.

In the mid 90's, the network Bravo, which was still an "arts" channel and hadn't yet devolved into reality show garbage, bought the rights to re-air Twin Peaks. They approached Lynch to film some short introductions to each episode. They feature the Log Lady, in character, expressing certain vague sentiments that only really make sense on a rewatch. Even then, they're worth watching and can provide a key to understanding each episode.

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Re: T W I N P E A K S {Season 3: May 21st}

#21

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insertnamehere wrote:Think back to that initial phone call between Pete and Sheriff Truman.

PETE: "She's dead...wrapped in plastic."
TRUMAN: "Slow down, Pete. Where?"

'Where,' not 'who.'

In many ways, (but not in a literal sense) the answer to "who killed Laura Palmer" is the town itself.

It takes a village to murder a child.
Lol, right.
insertnamehere wrote:Multiple on-set mistakes were incorporated by Lynch into the episode. Namely, the flickering light during the autopsy, the deer head on the Police Office's conference room table, and a face - belonging to a set dresser - being caught in a mirror's reflection in the next-to-last shot of Sarah Palmer screaming her lungs out.
Read about that, yes. The deer stuff would have drawn the same reaction, whether intentional or not, which is: "oh pls. a bit too early for my first ride, innit?", but the flickering light part was very cool.

And oh I know very well who was caught in the mirror reflection. :dark:
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Re: T W I N P E A K S {Season 3: May 21st}

#22

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I watched a good deal of twin peaks, the first season. I don't believe I ever got around to finishing it (but I should)
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Re: T W I N P E A K S {Season 3: May 21st}

#23

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sprityo wrote:I watched a good deal of twin peaks, the first season. I don't believe I ever got around to finishing it (but I should)
It's really worth finishing. And worth rewatching. And discussing.

I very much like this show, in case that wasn't already obvious.
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Re: T W I N P E A K S {Season 3: May 21st}

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Update: I finished season 1

I als stayed up until 5:30 am doing so and feel ashamed.

(This is why I fear Netflix)
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Re: T W I N P E A K S {Season 3: May 21st}

#25

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sprityo wrote:Update: I finished season 1

I als stayed up until 5:30 am doing so and feel ashamed.

(This is why I fear Netflix)
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Re: T W I N P E A K S {Season 3: May 21st}

#26

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Diane, it is 6:28pm local and I am starting my thoughts on season 1, episode 1 (the real episode 1 of season 1, not the Pilot, that I erroneously wrote down as the episode 1 of season 1 two days ago), called "Traces to Nowhere", even though my mood and inspiration to scramble for such thoughts are minimal; oh, and do tell that bastard INH that until he drives down here to taste this damn delicious P I E he ain't lived for real
Spoiler: show
Mmso, I don't think there's much to say about this one, it was palatable and passable, but I wouldn't say there were any particular high marks, unless I missed some esoteric stuff. I liked the Pilot as a piece of work more than this one. There were moments like Cooper arriving to the police station, early at the beginning, that I didn't feel much heart put into either the deadpan or the set pieceing of such a scene. Really driven to create more connections, ties, interactions episode, adding more beef to the individual stories, creating more telenovela-like minor twists and OH MY GOD KILLER BOB

To be honest, I'm giving a big plus to the fact that he is introduced already. Dunno why, but expected him to be like a season 2 addition or once the weirder plots get into gear. But instead, it's as good and quick of an intro as The Smoke Monster was in Lost [it was everything else that was added and overblown as mystery- and mythos-expading carp, after one and a half seasons of mostly straightforward drama].

Is Fenn's character even close to Cooper's age? Or is this pedo territory? Please tell me it's not pedo territory.

I'm reading that the scenes between Shelley and whatever-her-husbando-is-called garnered debate re: its quality and grippiness, but I wasn't fully sold on it, still looked like telenovela tier. Makes me fully expect "Shelley, what happened with yer eye" / "Oh, it's nothing, I fell down the stairs." / "Don't you worry, I'll kill that bastard." / "Oh, please Bobby, don't go near him." follow up scenes in the next episode. Plus, she made a Catch-22-like, dumb move for herself, hiding away the shirt. Good move for us, the movie watchers, and if it should prove important for the investigation. But irrevocably dumb for her.

I suppose Nadine''s scene counts as the fringiest, cringiest in the chemistry of the episode, but even here, it only made me think that she looks like "Mountain Snake" from Kill Bill. Wait... surely Tarantino didn't steal that look from here, did he? Tarantino, pls.

Also, quite odd use of "diegetic"-hinting or -alluding music, like when Josie is visited by Coop and Truman and I heard some chimney-tooting sounds (taken from "LP's theme", I think) in the faint background. Reminds me of something I didn't mention, the volume of the music changing in the Pilot, when Shelley and Bobby left the diner... which made no bloody sense from a diegetic viewpoint and even less sense to turn it down a notch from a non-diegetic viewpoint. Wyrd.

"what's a shenanigan"

Pool of suspects lottery
Both Whatever-Shelley's-Husbando-Is-Called and The-Psych seem too on the nose to be the case, so I'm calling bait on those drama cues - unless it's literal WIFOM
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Re: T W I N P E A K S {Season 3: May 21st}

#27

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insertnamehere wrote:
sprityo wrote:Update: I finished season 1

I als stayed up until 5:30 am doing so and feel ashamed.

(This is why I fear Netflix)
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well the first season was nice but ended on a weird note, and of course a cliffhanger.

I watched the first hour of the season 2 premier and already I feel it's different. There has been minimal weird spooky moments, only one I can think of was Madeline (or whoever Laura's identical cousin is) seeing the patch of blood/whatever that is on the floor.

Otherwise it's had this weird comedy mood to it. Like when Andy steps on the plank and hits himself in the face. Also the entire like 15 minute gag with the butler at the start. Way too drawn out.
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Re: T W I N P E A K S {Season 3: May 21st}

#28

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Diane, it is 6:08pm and I'm starting to write down what I thought after seeing Season 1, Episode 2 "Zen, or the Skill to Catch a Killer", again, to stress, quite superficial notes, since a cup of joe is all the time I have to myself throughout the day to watch this once. Oh, and I guess you don't have to tell Albert anything anymore, since he finally showed up here.
Spoiler: show
Ricochet wrote:To be honest, I'm giving a big plus to the fact that he is introduced already. Dunno why, but expected him to be like a season 2 addition or once the weirder plots get into gear. But instead, it's as good and quick of an intro as The Smoke Monster was in Lost [it was everything else that was added and overblown as mystery- and mythos-expading carp, after one and a half seasons of mostly straightforward drama].
Well color me double-impressed for all the Black Lodge setting also being introduced already. I really didn't expect this site of the mythology to be added this early in the show, but there's Lynch for ya, I suppose.
Ricochet wrote:I'm reading that the scenes between Shelley and whatever-her-husbando-is-called garnered debate re: its quality and grippiness, but I wasn't fully sold on it, still looked like telenovela tier. Makes me fully expect "Shelley, what happened with yer eye" / "Oh, it's nothing, I fell down the stairs." / "Don't you worry, I'll kill that bastard." / "Oh, please Bobby, don't go near him." follow up scenes in the next episode.
I guess I could check a quarter of this betting check.

===

Fenn is killing it so far. Though it's still disquieting that my question regarding her age in the assumed pending flirtatious relationship with Cooper has not been answered. INH, y u no answer. Quite bizarre, however, of a diegetic-implied use of that jazzy tune as a danceable diner jukebox track. Felt like trying to squeeze a square through a circle. Did Badalamenti not go outside to socialize much in his life?

The humor / deadpan / cringe writing is both amusing and vexing me, at this stage. I don't feel quite ready to bend the knee to Lynch's style in this regard. Quite sleazy scenes with the Horne brothers, even for my taste.

Am I missing something with the bottle scene, apart from its gimmicky presentation of Cooper's train of thoughts?

And then...

Image

I suppose one thing to remind myself is that this was 1990 pulling-of-the-rug moment, not present time I've-seen-enough-surreal-shit-already. I'm not set to claim that the scene melted my circuits - with the reverse talking stuff giving me a slight "whyyy" first reaction (does this improve or is this the end result of Lynch experimenting with Anderson, even after the former discovered that the latter is pretty kickass at reverse talking?) - but I think with revisits or sinking into this third layer of the show this should improve.

Pool of suspects lottery

This is now pointless, because I've accidentally upon the answer to whodunnit. FOK. Oh well. Was planning to note the show chooses to pedal on The Psych and Joe as suspects, following the previous' episode build, which I'd catalogue as a straightforward path to fuel the series' episodic steps.
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Re: T W I N P E A K S {Season 3: May 21st}

#29

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Ricochet wrote:Diane, it is 6:28pm local and I am starting my thoughts on season 1, episode 1 (the real episode 1 of season 1, not the Pilot, that I erroneously wrote down as the episode 1 of season 1 two days ago), called "Traces to Nowhere", even though my mood and inspiration to scramble for such thoughts are minimal; oh, and do tell that bastard INH that until he drives down here to taste this damn delicious P I E he ain't lived for real
Spoiler: show
Mmso, I don't think there's much to say about this one, it was palatable and passable, but I wouldn't say there were any particular high marks, unless I missed some esoteric stuff. I liked the Pilot as a piece of work more than this one. There were moments like Cooper arriving to the police station, early at the beginning, that I didn't feel much heart put into either the deadpan or the set pieceing of such a scene. Really driven to create more connections, ties, interactions episode, adding more beef to the individual stories, creating more telenovela-like minor twists and OH MY GOD KILLER BOB

To be honest, I'm giving a big plus to the fact that he is introduced already. Dunno why, but expected him to be like a season 2 addition or once the weirder plots get into gear. But instead, it's as good and quick of an intro as The Smoke Monster was in Lost [it was everything else that was added and overblown as mystery- and mythos-expading carp, after one and a half seasons of mostly straightforward drama].

Is Fenn's character even close to Cooper's age? Or is this pedo territory? Please tell me it's not pedo territory.

I'm reading that the scenes between Shelley and whatever-her-husbando-is-called garnered debate re: its quality and grippiness, but I wasn't fully sold on it, still looked like telenovela tier. Makes me fully expect "Shelley, what happened with yer eye" / "Oh, it's nothing, I fell down the stairs." / "Don't you worry, I'll kill that bastard." / "Oh, please Bobby, don't go near him." follow up scenes in the next episode. Plus, she made a Catch-22-like, dumb move for herself, hiding away the shirt. Good move for us, the movie watchers, and if it should prove important for the investigation. But irrevocably dumb for her.

I suppose Nadine''s scene counts as the fringiest, cringiest in the chemistry of the episode, but even here, it only made me think that she looks like "Mountain Snake" from Kill Bill. Wait... surely Tarantino didn't steal that look from here, did he? Tarantino, pls.

Also, quite odd use of "diegetic"-hinting or -alluding music, like when Josie is visited by Coop and Truman and I heard some chimney-tooting sounds (taken from "LP's theme", I think) in the faint background. Reminds me of something I didn't mention, the volume of the music changing in the Pilot, when Shelley and Bobby left the diner... which made no bloody sense from a diegetic viewpoint and even less sense to turn it down a notch from a non-diegetic viewpoint. Wyrd.

"what's a shenanigan"

Pool of suspects lottery
Both Whatever-Shelley's-Husbando-Is-Called and The-Psych seem too on the nose to be the case, so I'm calling bait on those drama cues - unless it's literal WIFOM
Ricochet wrote:Diane, it is 6:08pm and I'm starting to write down what I thought after seeing Season 1, Episode 2 "Zen, or the Skill to Catch a Killer", again, to stress, quite superficial notes, since a cup of joe is all the time I have to myself throughout the day to watch this once. Oh, and I guess you don't have to tell Albert anything anymore, since he finally showed up here.
Spoiler: show
Ricochet wrote:To be honest, I'm giving a big plus to the fact that he is introduced already. Dunno why, but expected him to be like a season 2 addition or once the weirder plots get into gear. But instead, it's as good and quick of an intro as The Smoke Monster was in Lost [it was everything else that was added and overblown as mystery- and mythos-expading carp, after one and a half seasons of mostly straightforward drama].
Well color me double-impressed for all the Black Lodge setting also being introduced already. I really didn't expect this site of the mythology to be added this early in the show, but there's Lynch for ya, I suppose.
Ricochet wrote:I'm reading that the scenes between Shelley and whatever-her-husbando-is-called garnered debate re: its quality and grippiness, but I wasn't fully sold on it, still looked like telenovela tier. Makes me fully expect "Shelley, what happened with yer eye" / "Oh, it's nothing, I fell down the stairs." / "Don't you worry, I'll kill that bastard." / "Oh, please Bobby, don't go near him." follow up scenes in the next episode.
I guess I could check a quarter of this betting check.

===

Fenn is killing it so far. Though it's still disquieting that my question regarding her age in the assumed pending flirtatious relationship with Cooper has not been answered. INH, y u no answer. Quite bizarre, however, of a diegetic-implied use of that jazzy tune as a danceable diner jukebox track. Felt like trying to squeeze a square through a circle. Did Badalamenti not go outside to socialize much in his life?

The humor / deadpan / cringe writing is both amusing and vexing me, at this stage. I don't feel quite ready to bend the knee to Lynch's style in this regard. Quite sleazy scenes with the Horne brothers, even for my taste.

Am I missing something with the bottle scene, apart from its gimmicky presentation of Cooper's train of thoughts?

And then...

Image

I suppose one thing to remind myself is that this was 1990 pulling-of-the-rug moment, not present time I've-seen-enough-surreal-shit-already. I'm not set to claim that the scene melted my circuits - with the reverse talking stuff giving me a slight "whyyy" first reaction (does this improve or is this the end result of Lynch experimenting with Anderson, even after the former discovered that the latter is pretty kickass at reverse talking?) - but I think with revisits or sinking into this third layer of the show this should improve.

Pool of suspects lottery

This is now pointless, because I've accidentally upon the answer to whodunnit. FOK. Oh well. Was planning to note the show chooses to pedal on The Psych and Joe as suspects, following the previous' episode build, which I'd catalogue as a straightforward path to fuel the series' episodic steps.
Spoilers for 1x01 and 1x02:
Spoiler: show
RE: Establishing of the mythology

Yep, a whole lotta things get set up in those early episodes, though the "supernatual/avant-garde/mindfuck" aspect does disappear for episodes at a time over the course of the show.

A good rule of thumb is to expect tons of that stuff in the seven Lynch-directed episodes of the series, and a sparingly small amount during episodes directed by other people.

The number one big reason why I'm so excited for Season 3 is that Lynch is directing all 18 episodes, which I think will provide a level of cohesion and depth that the original series lacks. Also, weird shit. I like me some weird shit.

RE: Audrey

Audrey Horne is 18. As in, just turned 18. So, not illegal, but would be icky all the same.

RE: Leo/Shelly Relationship

The early scenes with those two are a little rough. Leo is, let's face it, not played by the best actor. He's the casting director's son, in case you were wondering how he got the part. I think a more nuanced actor would be able to pull off the contradictory tones of the alternately intentionally hackneyed and the legitimately menacing. Instead, it's a little bit cringy.

RE: Quentin Tarantino

The Kill Bill duology are the only movies of his I haven't seen, but it wouldn't surprise me at all if Nadine directly inspired something in that film. Tarantino is on record as being a massive Peaks/Lynch fan until Fire Walk With Me, which was, according to him, so bad that he renounced all of Lynch's work.

Frankly, I just don't listen to a word that comes out of Quentin Tarantino's mouth. It makes his films much more enjoyable.

RE: Use of Badalamenti's score

One little thing I like about the series is how it constantly erases the line between diegetic/non-diegetic sound, what with Julee Cruise singing dream pop at a biker bar, and Badalamenti's score being played in the background of completely inappropriate places.

RE: Dream sequence at the end of 1x02

Legitimately one of my favorite sequences in film. I know it's technically television and not film, but at the same time, shut up, I really like it. That stuff aired in 1990, on ABC primetime. It ran against fucking Cheers. Imagine flipping the channel over at random and seeing that.

I'm legitimately amazed that Twin Peaks existed. Well, I guess we can say it still exists, thanks to the Season 3 that I will force myself to like no matter its' actual quality thanks to the sunk-cost fallacy.

You said you already know the killer's identity. Would you be so kind as to discuss that a little more in a clearly marked spoiler section? If the spoiler is right, that's a real bummer, as it makes the show lose more than a bit of narrative grist.
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Re: T W I N P E A K S {Season 3: May 21st}

#30

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sprityo wrote:
insertnamehere wrote:
sprityo wrote:Update: I finished season 1

I als stayed up until 5:30 am doing so and feel ashamed.

(This is why I fear Netflix)
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Spoiler: show
well the first season was nice but ended on a weird note, and of course a cliffhanger.

I watched the first hour of the season 2 premier and already I feel it's different. There has been minimal weird spooky moments, only one I can think of was Madeline (or whoever Laura's identical cousin is) seeing the patch of blood/whatever that is on the floor.

Otherwise it's had this weird comedy mood to it. Like when Andy steps on the plank and hits himself in the face. Also the entire like 15 minute gag with the butler at the start. Way too drawn out.
Spoiler for 2x01
Spoiler: show
Oddly enough, you do in fact get more weird spooky moments in the premiere after the first hour. And seriously, fuckin' dapper giant dude talking about owls not being what they seem wasn't enough weird shit for you?

Not gonna lie, I unabashedly love the sequence with the butler. You have to realize the context here. Against all rational logic, Twin Peaks is a hit television show and a bona fide national phenomenon, to the surprise of everyone, especially Lynch himself. He opens the second season by poking fans who desperately want resolution to the cliffhangers directly in the eye. About half of the viewing audience flipped the channel after the first 30 minutes of the Season 2 premiere, which feels like an intentional move on Lynch's part.

For me personally, I laugh my ass off every time I see that uber-long, bizarre exchange while Cooper's bleeding out on the floor. Something about it speaks to my sense of humor, idk.
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Re: T W I N P E A K S {Season 3: May 21st}

#31

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Re: last paragraph
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insertnamehere wrote:You said you already know the killer's identity. Would you be so kind as to discuss that a little more in a clearly marked spoiler section? If the spoiler is right, that's a real bummer, as it makes the show lose more than a bit of narrative grist.
Dunno what you're asking here. I mentioned that, despite my previous luck in scrambling through Wiki pages without coming across the information, I stumbled eventually upon the reveal of LP's killer, upon checking the trivia on Episode 2.

I'll see how bummed I feel in the process. There's still a sense of chase and investigation in the show that I can follow and judge unfold, even if I know the outcome or not. I'm not the type to not watch a tennis match rerun anymore if I found out beforehand what the score will be.
Also, since sprityo is ahead of me, please mark (either of you) your separate conversation with RICO DON'T in case I shouldn't open up those spoilers just yet. Nothing compromised so far, but just to be safe.
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Re: T W I N P E A K S {Season 3: May 21st}

#32

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Diane, it is 6:48pm (wow, I time these around the same time of the day, don't I) and guess what, I'm recording this again. BUT WHY. Season 1, Episode 3, "Rest in Pain"
Spoiler: show
Eyyy I kinda liked this episode as a whole. Clear follow-up qualities to the previous episode's "hey let me suddenly add snake juice in your noodle soup", that I thought held up nicely, as an episodic format. Of course, I don't mean to imply that I'm dissing with this on Lynch's directed style of choppier, less stable, fancier set pieces, but yeah, this kinda worked, start to finish.

I liked, again, the cheekiness of Cooper just explaining his dream and Truman and (...omg, what's her name) just casually going along with it. Even Gregory House couldn't sneak a crazy move or story like that for eight seasons without Wilson frowning at him. The whole scene had both an artificial vibe of being explanatory, perhaps trying to patch things through with what happened during the last six minutes of the previous episodes - and a comformity to Cooper's style of laying things out. The "I forgot" bit was both an eff you to any kind of expectations the ep2 cliffhanger would deliver and just straight up deadpan. Nice of Truman to also spell out the Mike-Bobby / Mike-BOB red herring connection that likely a million pleb watchers made by then.

The funeral scene was great - and about as maxed up cringefunny as the show has been taking us so far, so no complaints here - the silent moment between Cooper and LP at the morgue was great, Josie is so hot, the Coop - Jacoby talk was great.

The addition of Madeleine had my eyes rolling a bit, but even that was framed quite well with the whole "twin sisters [or sumthin']" presentation from the soap Leland was watching. Tongue-in-cheek meta. Check.

One thing this episode reminded, that I forgot to write it down back on ep1, was just how much amount of corny Don S. Davis has been built to utter. Jeez Louise.

Nadine as a character seems totally compromised for me. I literally cannot stop thinking of Daryl Hannah in Tarantino's bloody movie.

Pedantic quirk: if each episode is meant to be a new (subsequent) day in the storyline, how did Shelley's [I wrote Sherry initially, RIPochet my memory] cheek bruise from the beating heal so quickly?

Even though I'm technically praising this episode, I don't know what else to single out, other than the above. Its big quality was that it geled together: set pieces were moved, a few more secondary/tertiary storylines branched out (or at least cleared of a bit of the mist around them). Conventional stuff, but when done right, it's good enough for crediting an episode like this as good, as opposed to just ones that are meant to wow.
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Re: T W I N P E A K S {Season 3: May 21st}

#33

Post by Ricochet »

Diane, it is now 7:43pm local (you will note I started later this time, but I blame everything on Daylight Savings; I WANT MY HOUR BACK) and here goes with Season 1, Episode 4, "The One-Armed Man"
Spoiler: show
Another safe, straightforward, next-station-pull episode - more so than Episode 1, if I recall? - from which I can't really point out any highs for me. It almost feels like this writer and/or director opted for a far less bumpy ride than on most previous occasions. Story branches are ramifying even more, almost casting in the shadows some of the main characters and how far their part is moving alone. Even Coop's initial quirk mojo is on low levels this time around. I can't call myself a fan for how little of Donna is shown - or at least, it feels little from episode to episode.

Plus, this episode features a llama, which is just instant 1/10.

Interesting how Coop's investigation is less about a standard connect-the-dots Poirot-esque procedure and more following stuff and leads that just pop up. Like the fact that both he and Mrs. Palmer had a vision of Killer BOB - the latter could have remained an element of enigma for the rest of the crowd, instead Coop has the material already to go along with it. Idk, rambling on this issue. I've read the term "investigation-by-coincidence" in a review and I guess this is an apt description for how the procedural plot is evolving.

Also interesting that an element of tampering has been finally introduced in the investigation, with Bobby planting Leo's shirt - although, for the show's purposes, it only serves to enhance the idea that Leo is supposed to be our prime suspect and that this has potential of a season's arch. Even if I had not found out the revelation, it would have still not made me believe it's the right lead.

Idk...
...idk...
......idk...
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Re: T W I N P E A K S {Season 3: May 21st}

#34

Post by insertnamehere »

Spoilers for 1x03 and 1x04:
Spoiler: show
The funeral sequence is probably my favorite Non-Lynch sequence of the show. Just some fantastic bizarre cringe comedy.

Cooper fits the mold of a Douglas Adams-type Holistic Detective who relies on dreams and the "interconnectedness of the universe." He works better as a clearly defined mental outlook than a realistic FBI agent, although the Federal Bureau of Investigation in this show is utterly bizarre.

Don S. Davis is a friggin' constellation.

These episodes, 1x04 especially, are more piece moving episodes that are necessary to get from point A to point B. I like them, as they still exist in the quirky, contradictory, and idiosyncratic world established in the Lynch-directed episodes. The moment with the llama, as triggering as it must have been for you, Ricochet, was still a great moment.

RE: Shelley's bruise

Makeup, I'm guessing? Although you'd need a hell of a lot of foundation.
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Re: T W I N P E A K S {Season 3: May 21st}

#35

Post by Ricochet »

Diane, it is 5:51pm now and holy smokes I had to wait a whole day to get to write this, that's how busy I simply am right now; fear not, though, I did watch this properly yesterday, within the proper Pepsi and doughnut schedule. I could also blame the kid from upstairs for the distraction, as he keeps playing on his out-of-tune piano past hours and what's worse, making the same mistakes - I mean jeez Louise, even I know he plays an f sharp where it should be plain as day f natural. Anyway
Spoiler: show
Season 1, Episode 5, "Cooper's Dreams", was an episode of two energies and I give both thumbs up. Quite precipitated there at the end, wasn't it? I instantly liked Leland's meltdown and the comedy that ensued.

I found it pretty wonky (even editing-wise - those two sequences could have been interspersed throughout the episode) how Leo was done with in like, what, a minute? Then again, everything about Leo was wonky all season long, so whatevs. We have Norma's-Husbando, Whatever-His-Name-Is now. That gun was sure to be shot, at one point, as the saying goes.

Josie ya bitch!

Lynch, Frost and co. don't really give an eff about how they crayon any nordic visitors in this show, do they?

I liked that Coop was given more screen time and stuff with which to use the full range of his character. He had grown slightly pale the previous episodes, as I've noted. I feel the series found a stable core, at least at this point; whatever reverential, absurd or stylistic spin it wants to give on things, it doesn't crank it up to eleventy-stupid and thus the sequences feel cohesive. Not to say I mind the madness, but I've come to appreciate the conventional side of the coin as well. Good feels.

I'm reading that the James fella got constantly heavily criticised for the performance and myeah, I suppose he's a bit of a dunce everytime he shows up on screen. Hard to believe I praised the scene between Donna and James in the pilot - t'was really gripping atmosphere, though - but since, both of them have become very uninteresting at every step of the way.
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Re: T W I N P E A K S {Season 3: May 21st}

#36

Post by insertnamehere »

Spoilers for 1x05
Spoiler: show
Yep, the nordic stereotypes, bizarrely grafted onto the show, are a bit awkward. They aren't exactly offensive, mainly because it's hard to see a Scandinavian taking them seriously.

James is a moron. He really is. His best scene in the series by far is the one at the end of the Pilot. The depths of his stupidity only become more and more apparent as the show goes on.

You correctly identified the axis on which the show swivels and hops: Cooper investigating the Laura Palmer murder. As long as that storytelling core is there, the show can afford to go really broad, or really melodramatic, or really bizarre.

But yeah, the Leo stuff is always wonky. I blame the actor.
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Re: T W I N P E A K S {Season 3: May 21st}

#37

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Diane, I have failed you in keeping up with the notes these past days, but... I. Have. Not. Failed. This. Show. In fact, great news, Season 1 is done. Doneso. Donezilla. I have watched the season finale, in fact, thia morning, around these parts (LARGE PICS becuz on phone)
Spoiler: show
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Can I die here, Diane? I'd be happy to die here. Order me a coffin, Diane. Oh, and one last pot of coffee to go before that.

Also. What's up, Doc?
Spoiler: show
1x06 was moving-pieces. Good alternance overall between these and more exciting ones, I declare myself satisfied. But with this, after four days, I couldn't remember much. Not even Coop's infiltration scenes were fire set pieces in this case. LP's voice / accent was hella creepy.

I keep forgetting those telenovela promo inserts. "Invitation to laaauv". They're hilarious.

1x07

McLachlalalan was stellar in this one. More Sherlock than Detective Coffee. Emmy, pls.

Cliffhanger was pretty predictable, but I'll take it. I'll take most of the half resolutions in here. Bit confused with Norma's husband sticking his nose in so many things. Uhh why did he shoot Leo? Both him and Jacques being cleaned in the midst of the investigation is conventional, but ok as a device.

Oh Pete. He was, in case he's a goner, about my favourite type of corny, over-acting face in the series so far. Not like Don S. Davis (sorry).

Idk I'm in a train now and not much in the m0od or with network available to dissect this. I liked it k
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Re: T W I N P E A K S {Season 3: May 21st}

#38

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Images above resized and reuploaded.
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Re: T W I N P E A K S {Season 3: May 21st}

#39

Post by juliets »

Just fyi - probably already known to you all who are die-hard fans

http://mentalfloss.com/article/93932/15 ... twin-peaks
JaggedJimmyJay wrote: Sat Aug 21, 2021 3:24 pm Always good to remember that there is no such thing as a Mafia circumstance that is worth real human emotion. Sometimes it will naturally come out, but it can be contained if we just remember that this is a game on a message board forum that 99.99% of the population of the Earth has never heard of before. No matter how successful anyone is, it means just about nothing.

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Re: T W I N P E A K S {Season 3: May 21st}

#40

Post by Ricochet »

Diane,
Spoiler: show
I recorded the notes on today (2x01) and then lost everything, because I accidentally logged out in another tab. So frak it.

(Sort of like Coop not turning on the voice automatic when needed. Ironic.)
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Re: T W I N P E A K S {Season 3: May 21st}

#41

Post by Ricochet »

Diane, blablabla
Spoiler: show
Season 2, Episode 2 felt like the weakest of the Lynch-directed episodes (I've no doubt the finale will leave up to at least some expectations, so I'm calling it now). In my post on s2e01 that I've fudged, I noted having had the same inevitable gripes with his style of discourse and connecting with me as a watcher - for which "hey man, you couldn't see stuff like this on television back in those days" argument is just not sufficient -- but in retrospect now, I'll take even that heavily stretchmarked scene with The Waiter over much from this episode. The most notable stuff was probably the scene in which James, Donna and Maddy sing a song and I've no idea what that was for at all. Or the times BOB shows up - who seems to be pushed to "shit-getting-real" levels now - another thing I mentioned about s2e01 that was lost was how 2spooky its last two minutes were. :scared:

Season 2, Episode 3, 'The Man Behind the Glass'... mucho mejor. Firstly I thought the screenplay was really sharp, with lines and moments that just stuck on landing. That Albert-Truman exchange was just what the shit. XD Even Hawk's snarky quips together with Lucy and Richard caught me chuckling. Characters were introduced in a way that was explainable -- except for maybe that Asian stalking dude (Lynch, bro, if you're going to add a tertiary Asian strange character, you need to have him steal the show right away and then vanish... look, like The Coens did).

Bless you, James, it took you three episodes to notice stuff about Donna changing, that I did ever since the first episode of the season. On that note, the new J - D - M love triangle is not something I'd label as desirable, but I suppose it is inevitable for the soapy substrata of this show (and lo and behold, they plunged right into it this episode) - also probably speaks of how people start reflecting the image of Laura onto Maddy, or how Maddy herself might get enamoured with being the substitute of her lookalike icon, who knows.

Audrey being stuck for so long at One Eyed Jacks is also something I'm not enjoying to the fullest, mostly because I feel Audrey is a character needs to be out there, everywhere, anywhere, the way she was in season 1; on the other hand, she's probably now used as the female token descending in the same dark place as Laura once did. The plot advance here is just too slow, simply because Cooper is dumb or distracted at figuring out (surely the tuxedo bit should have tipped him off that he wore it not only at the Northern), with nothing truly alarming happening to Audrey in the process either. Oh, she was gagged this episode? And nothing else? Oh my, what danger.

Holy frak that Nadine scene. Finally something to remember her other than the Tarantino throwback (or is it... throw-... forward?).

MIKE's reappearance in the episode only reminded me of the most bugging question that I forget about from one episode to the next... where da hell happened to Mike?

Honestly, one of the best eps overall from those I've watched.
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Re: T W I N P E A K S {Season 3: May 21st}

#42

Post by Ricochet »

Diane, I went biking this past Sunday and my nose, back of the neck and wrists now look like they've been ironed over. Most unpleasant. Sometimes I go out with the mental preparation and wisdom of a 12 year old... but more importantly, frak u sun :meany:
Spoiler: show
Season 2, Episode 4, "Laura Secret Diary" was something I felt no need to write anything about, on Monday. I was half asleep for a little slept Sunday night, anyway.

Season 2, Episode 5, " The Orchirds Curse" was more like it, although I was surprised to stumble upon a review on A.V. Club that was among the first in the series to be labeled as a stinkeroo. I felt it was fairly good, it had the power and focus to push along. Not perfect, though, I didn't care for the sellsman slapstick stuff or Leland's "trial" scene at whatever tavern that was shot in - which also seemed poorly mixed at times, the judge sounded like he was recorded from inside bathroom or something. Although I did find it funny that Sid, the clerk lady, acted as both, well, the clerk during the trial and then as a bartender during the respiro. And that the judge's judging skills were about as sharp as asking the cops what he should do.

Also kek to the notion of Leo being still kept alive in the show (the old coma / vegetative state ploy in the book), yet being so disgraced as to just show up in pictures, never in actual scenes.

Can we ascertain already that, if Season 1's stereotype was Nordic countries, Season 2 is Asian peeps? And always linked with Benjamin Horne or his inn bizz, lol. Lynch & co. seem to be going zero fucks with this.

Andy keeps testing my patience as the comic relief, but that being said, I liked his "I'm a whole damn town" line. The stuff with Lucy is sheer telenova, the stuff which I can't imagine a serious fella like Lynch give any damns about, but I suppose the other writers are driving it through the usual tropes.

Despite my expectations, Harold and the scenes in his house continue to bring a solid flow and atmosphere, there's been some tense stuff in this episode (and Donna's been given creepy lines to work with, the stuff only Audrey used to receive back in Season 1), even with all the inevitable clumsiness that Donna and Maddy's plotting prompted. When Harold got sick exiting his house, it did make me wonder if it's just his exhibited psych disorder or his confined to this place by a voodoo, outside force. Even so, now that Harold decided to scratch his face with a rake and ketchup sauce, I'm hoping for a quick resolution here. In vain, probably, but oh well...

And speaking of resolutions, the show finally found a way to make Cooper realize Audrey's at Jacks and finally go rescue her. I was amused by the telenova string of treatchery and backstab between Jean, Blackie, whoever that other woman was and Hank, but I suppose it comes with the territory.

Oh shizzles, COOP GUT PUNCHING A WOMAN. e d g y t v

I seem to be talking by myself in here lately.
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Re: T W I N P E A K S {Season 3: May 21st}

#43

Post by insertnamehere »

Spoilers for 2x05
Spoiler: show
First off, sorry for not being able to keep up with your updates. I'll attempt to provide more reliably constant smirkingly informed commentary from here on out.

Those places look pretty damn picturesque. And the graveyard is especially appropriate for the part of the series you're getting close to.

Jack Nance, the actor who played Pete Martell, was a goddamn national treasure and should be revered for time immemorial. He also died in a donut shop fist fight, appropriately enough.

Gonna be honest, I unabashedly love the two intentionally offputting Lynch directed sequences in the first two episodes of season 2- the long scene with the waiter, and the "Just You" performance followed by the BOB attack.

RE: Senor Droolcup, allow me to quote myself.
insertnamehere wrote:You have to realize the context here. Against all rational logic, Twin Peaks is a hit television show and a bona fide national phenomenon, to the surprise of everyone, especially Lynch himself. He opens the second season by poking fans who desperately want resolution to the cliffhangers directly in the eye. About half of the viewing audience flipped the channel after the first 30 minutes of the Season 2 premiere, which feels like an intentional move on Lynch's part.

For me personally, I laugh my ass off every time I see that uber-long, bizarre exchange while Cooper's bleeding out on the floor. Something about it speaks to my sense of humor, idk.
The "Just You" scene and the chaser of BOB vaulting over the couch also work in the super duper sincere and super duper fucked up vein of the show. YMMV, obviously, but all of Lynch's directoral quirks just work for me.

Episode 2x03 is one of better non-Lynch episodes, definitely. Nice Coen Brothers reference. Now there's a filmography that could be easily suited for mafia.

This is about when the show loses the plot with Audrey. She just kinda got stuck at One Eyed Jack's until she became mostly irrelevant.

Leo's character becomes ten times more ridiculous and ten times more interesting in Season 2.

The Harold plot is a nice little contained performance and bit of entertaining stalling.

Also, Rico, WHAT DID YOU THINK ABOUT THE LITTLE MAGICIAN BOY WITH THE CREAMED CORN

C'mon, you gotta have something to say about that.
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Re: T W I N P E A K S {Season 3: May 21st}

#44

Post by Ricochet »

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insertnamehere wrote: Those places look pretty damn picturesque. And the graveyard is especially appropriate for the part of the series you're getting close to.
The graveyard's stairs is where I sat and watched the season 1 finale. :grin: I didn't spot any passerbies taking pictures of me, like a weird exhibit, though.
insertnamehere wrote: Jack Nance, the actor who played Pete Martell, was a goddamn national treasure and should be revered for time immemorial. He also died in a donut shop fist fight, appropriately enough.
You're making this us. Good lord. Anyway, you're replying to something concerning the s1 cliffhanger, and Pete has been fine since, so I will still get to enjoy him a bit longer. He's the kind of relative I would have liked to tell me bedtime stories. For one, he would have made the funniest voices, hence awesome. For two, the stories would have taken seven hours, considering how slow he talks, hence double awesome.
insertnamehere wrote: Gonna be honest, I unabashedly love the two intentionally offputting Lynch directed sequences in the first two episodes of season 2- the long scene with the waiter, and the "Just You" performance followed by the BOB attack.
Well, consider me to be a half and half, then. The Giant, but not The Waiter. BOB freaking me out, but not whatever non-sequitur song or shtick is also in the mix. I forgot to state that the "Just You" song also made my eyebrow raise towards Badalamenti having perhaps gone in search for a new tune pivot in the show, instead of having the same two or three. But then, in later episodes, I didn't sense any OST shift in accompanying the JDM triangle at any stage, so I guess the song was just... put... in there. Hrmpf.
insertnamehere wrote: This is about when the show loses the plot with Audrey. She just kinda got stuck at One Eyed Jack's until she became mostly irrelevant.
Gah, this sucks.
insertnamehere wrote: Also, Rico, WHAT DID YOU THINK ABOUT THE LITTLE MAGICIAN BOY WITH THE CREAMED CORN
Theeee...........

Yeah, you should tell by now that thing flew by me.
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Re: T W I N P E A K S {Season 3: May 21st}

#45

Post by insertnamehere »

Ricochet wrote:
Spoiler: show
insertnamehere wrote: Jack Nance, the actor who played Pete Martell, was a goddamn national treasure and should be revered for time immemorial. He also died in a donut shop fist fight, appropriately enough.
You're making this us. Good lord. Anyway, you're replying to something concerning the s1 cliffhanger, and Pete has been fine since, so I will still get to enjoy him a bit longer. He's the kind of relative I would have liked to tell me bedtime stories. For one, he would have made the funniest voices, hence awesome. For two, the stories would have taken seven hours, considering how slow he talks, hence double awesome.
Spoiler: show
He plays the main character in Eraserhead, and also has roles in Lynch's Wild At Heart, Lost Highway, and (wink wink, nudge nudge) Blue Velvet.
Ricochet wrote:
Spoiler: show
insertnamehere wrote: Also, Rico, WHAT DID YOU THINK ABOUT THE LITTLE MAGICIAN BOY WITH THE CREAMED CORN
Theeee...........

Yeah, you should tell by now that thing flew by me.
Spoiler: show
This scene:


And yes, that's David Lynch's son. It looks eerily like a miniature version of him.
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Re: T W I N P E A K S {Season 3: May 21st}

#46

Post by Ricochet »

D.

Season 2, Episode 6, "Demons"
Spoiler: show
I'll be swift, because I'm writing this at 3am, nearly two days after having watched it, according to regular schedule. Was good overall and sketchy at the same time:

Harold denounment, following last ep's cliffhanger, took a fast dive into shlock, but it was to be expected.
This episode had too much James in it.
insertnamehere wrote:Leo's character becomes ten times more ridiculous and ten times more interesting in Season 2.
I did not expect, nor requested this to get into motion this quickly. Frak.

This episode was also quite Ben Horne heavy, but in ways the scenes held up in significance or simple parlé.
Leland going singy songy, cuckoo lulu again wasn't as strong as that dance shtick with the Icelanders, but two thirds of the routine was still delectable.
Strong finish, getting darkly serious with MIKE. This show needs no-more-goofing-around scenes, at this point.

idk what else. what else... wh-

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Re: T W I N P E A K S {Season 3: May 21st}

#47

Post by Ricochet »

Diane... I'm scared.
Spoiler: show
Whoa boy.

So let's not kid around, "Lonely Souls" was all about its last 15 minutes. And how convincingly so. For one, during the early stages, I was ready to shoot it down for its filler contents and especially their lenghts - a whole lot of minutes with Leo & Bobby or with Nadine & Ed, jesus. Most of the set pieces felt in fact lenghty; not your average two-line exchanges.

But then the second half happened and I declare myself more than "appeased", so to speak. Such surreal transitions between the events at the Roadhouse and the Palmers' residence. As for the latter... grueling. It's like Lynch went all in. It's a small detail in this whole wretched chemistry, but pretty sure I don't want to hear anything alike Leland's shout inflexion in "going back to Missoula, MONTANAAAA" ever again. There were moments in which I genuinely shivered. So good stuff, ya got me here, Lynch old sport, pulling the rug like that after 20 minutes of bore. I even knew beforehand that this episode had important, revelatory stuff and still didn't expect it to go down like this. And the very end scene afterwards, with everyone breaking down at the Roundhouse. Just... what...

Further stray observations:

I'm not even going to pretend having a clue, what was up with the horse.

holy shit Mike suddenly returned. wat! did he had homework to do for a season and a half or something?

LMAO I was confident Tojimura was someone in drag, but it never crossed my mind it could've been Catherine. For a while, I thought Josie could be up to stunts. (Wait a minute, where did "Tojimura" get five millions to pass it to Benji?)

Another element I felt was long-winded and incessant early on was the background music. It just went on and on and on, over everything (and anything) that was happening or what the characters were talking - only to do then cut dry to, ironically, non-music, as it was only the sound of vinyl spinning freely, during the murder scene. Not sure what the actual intent was with this, but, in line with my train of thought regarding the tone switch during the last stretch, I have an inkling of a feeling that Lynch was keen to bore us with the first half of the episode and weigh everything down on us - filler scenes, banal or quirky casual dynamics and background music galore - only to then take a sharp turn into serious and cutthroat territory.
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Re: T W I N P E A K S {Season 3: May 21st}

#48

Post by Ricochet »

Twine Beaks comments postponed until site issues are fixed and spoiler tags can function again (o god all my writing is now locked). I will continue to watch, according to schedule.
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Re: T W I N P E A K S {Season 3: May 21st}

#49

Post by insertnamehere »

Hey Rico, you watching this crazy shit?
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Re: T W I N P E A K S {Season 3: May 21st}

#50

Post by Ricochet »

Yeah.
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