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  #301  
Old 07-28-2017, 09:36 AM
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I found out a local theater is showing all the new episodes on theater screens, so I went down to watch it. Really fun experience! It's kinda weird not being the only person laughing at a weird moment in a Lynch show or film. I don't have much to add to what others said except that the biggest laughs came for Gordon Cole's extremely delayed "He's dead," and the kid from the van's amazing tough guy stance when Bobby goes to investigate the gun shot.

As a fan of all the drawn-out shots and long takes, I still have to admit I find the Dougie stuff a little trying at times. I enjoy a lot of it, just... it's enough, sometimes. Curious if I'll get used to it and enjoy it more on a rewatch or find it more of a distraction.
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  #302  
Old 07-29-2017, 08:16 AM
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Showtime's web store sells a cardboard cut out of Agent Dale Cooper. If you order it, here's what actually shows up.
Assuming that isn't just a joke, that's a brilliant bit of trolling. If that happened to me, I'd post pictures of myself trying to give it badges and coffee and donuts and cherry pie in a desperate attempt to change it back.
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  #303  
Old 07-31-2017, 08:46 AM
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Not much in this episode.

Enjoyed the extremely drawn out scene of the woman leaving Cole's room.
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  #304  
Old 07-31-2017, 01:18 PM
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Hopefully she'll turn up again.
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  #305  
Old 07-31-2017, 02:36 PM
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Gordon's reactions are really what made that scene. Also the Audrey scene was ridiculous.
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  #306  
Old 07-31-2017, 07:11 PM
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Gordon's reactions are really what made that scene. Also the Audrey scene was ridiculous.
I think that Audrey's still in a coma, and is the soap opera meta representation. Frost/Lynch put in sooo many soap opera threads into that conversation. Billy's lost for 2 days. Audrey's fucking him. Audrey/Charlie have a weird contract thing with their marriage that she's reneging on. Tina won't talk on the phone if Chuck is around. It was like plot lines for two seasons of Invitation to Love were just name dropped from the wikipedia entry. "You all liked the soap opera drama from before, here ya go".

The end after Charlie puts down the phone had a weird resonance with me. You know when you're just waking up from a dream, and realize you were dreaming? Sometimes I can drop back into that dream for a bit, and have a bit of governance over what I can say/do. Many times the "actors" in my dreams are still there but don't respond or react, are just automatons, just like Audrey's husband.

Maybe Audrey just woke up.
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  #307  
Old 07-31-2017, 08:41 PM
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I think that Audrey's still in a coma, and is the soap opera meta representation. Frost/Lynch put in sooo many soap opera threads into that conversation. Billy's lost for 2 days. Audrey's fucking him. Audrey/Charlie have a weird contract thing with their marriage that she's reneging on. Tina won't talk on the phone if Chuck is around. It was like plot lines for two seasons of Invitation to Love were just name dropped from the wikipedia entry. "You all liked the soap opera drama from before, here ya go".

The end after Charlie puts down the phone had a weird resonance with me. You know when you're just waking up from a dream, and realize you were dreaming? Sometimes I can drop back into that dream for a bit, and have a bit of governance over what I can say/do. Many times the "actors" in my dreams are still there but don't respond or react, are just automatons, just like Audrey's husband.

Maybe Audrey just woke up.
I have my doubts on that theory, though it is an interesting read. Regardless, I found the scene delightful. I have never heard of Clark Middleton before, but he plays his ridiculous character to a tea. This guy has the worst excuses and he delivers them with such disinterest. And FINALLY Audrey is back. I am super-curious what she saw in Charlie to begin with. Not that we'll learn, I imagine. But I'm so used to Audrey Horne being the character who knows what she wants, that I can't imagine her ending up with a sad sack like Charlie. Hell, ending up with Billy Zane was already out of character way back in the day.

I love that we still have "Starring Kyle MacLaughlin" when all he did was get hit in the head with a baseball.

6 more episodes to go. Still a lot of stuff to tie up. I mean, knowing Lynch we aren't going to be getting any straight answers, but still, I'd like it to feel finished.
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  #308  
Old 07-31-2017, 08:56 PM
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I think that Audrey's still in a coma, and is the soap opera meta representation. Frost/Lynch put in sooo many soap opera threads into that conversation. Billy's lost for 2 days. Audrey's fucking him. Audrey/Charlie have a weird contract thing with their marriage that she's reneging on. Tina won't talk on the phone if Chuck is around. It was like plot lines for two seasons of Invitation to Love were just name dropped from the wikipedia entry. "You all liked the soap opera drama from before, here ya go".

The end after Charlie puts down the phone had a weird resonance with me. You know when you're just waking up from a dream, and realize you were dreaming? Sometimes I can drop back into that dream for a bit, and have a bit of governance over what I can say/do. Many times the "actors" in my dreams are still there but don't respond or react, are just automatons, just like Audrey's husband.

Maybe Audrey just woke up.
This scene was incredible. Where I watched it, the stream shorted out near the end, when Audrey was shouting, "What, what is it?" Everyone in the theater just sat there looking at a frozen screen, asking the same question.

Someone from the next room came in and apologized, let us know that they would back the scene up a few minutes and that it should work for there. So we had to watch the phone call AGAIN, watch Audrey getting worked up AGAIN, only to get to her "What, you're not gonna tell me?!" and have the scene end on us.

Audrey appears to be married to Brett Gelman's "Little Bit of Luck" character


The coma theory makes some sense, but generally I count on Lynch just weaving dreamlike material into the main story. I find it unlikely that Audrey will wake up and we'll find out this scene never really happened. Lynch is frequently self-parodic (both this scene and the lady leaving the room scene were stretched out to completely absurd lengths,) but he rarely gives himself an "out" like a dream sequence. I realize many people divide Mulholland Drive into a "dream" part and a "real part," but the dream part has lots of realistic scenes and the real part has scenes that are completely impossible in real life.

Anyway, I loved this episode.

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I love that we still have "Starring Kyle MacLaughlin" when all he did was get hit in the head with a baseball.
Yessssssss
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  #309  
Old 07-31-2017, 09:40 PM
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I was touched by Harry Dean Stanton's scene. I think it's nice that in addition to the grotesqueries, eccentrics, and monsters, there's unalloyed good folk.
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  #310  
Old 08-01-2017, 05:14 AM
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I've been enthralled by the last two episodes, but I haven't 100% enjoyed them. Certain scenes have been wonderful and I have all sorts of splendid theories running around in my head, but I keep coming back to: I'm sure I will enjoy this more when it's all over and I understand what's going on. I'm getting unexpected flashbacks to season 4 of Arrested Development as all the timelines came together and, again I understood what was going on. Did we know that wouldn't be chronological before it aired? I don't remember.


In other news, Sherilyn Fenn did an interview with Twin Peaks Unwrapped the other day and uh wow. On one hand, I respect her authenticity and on the other, she brings up Laura Flynn Boyle twice in the first fifteen minutes and it goes downhill from there.

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  #311  
Old 08-02-2017, 10:44 AM
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David Lynch attempts to make a video for Comic Con.
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  #312  
Old 08-06-2017, 09:55 PM
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"And now tonight at the Roadhouse James Hurley!

(Huh why does that name sound really familiar?)

*James Hurley gets on the stage*

(OH SHIT!)
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  #313  
Old 08-07-2017, 05:57 AM
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Maybe the best callback to the original series.
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  #314  
Old 08-07-2017, 06:10 AM
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so uh how about big ed literally playing with fire there at the end, that's going to end well, right?

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  #315  
Old 08-08-2017, 05:11 AM
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Is it just me, or did the boxing match on Sarah Palmer's TV change slightly from loop to loop? I swear the pauses in-between lines changed,
as did the applause. There's clearly some Lodge crap going on with that, especially with the static.
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  #316  
Old 08-08-2017, 09:25 AM
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What the hell was that song that was playing when the Mitchum brothers were celebrating. The sound design on this show is unbelievable.
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  #317  
Old 08-08-2017, 11:02 AM
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What the hell was that song that was playing when the Mitchum brothers were celebrating. The sound design on this show is unbelievable.
I was wondering the same thing. I don't think it's in the credits.

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  #318  
Old 08-08-2017, 01:34 PM
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Is it just me, or did the boxing match on Sarah Palmer's TV change slightly from loop to loop? I swear the pauses in-between lines changed,
as did the applause. There's clearly some Lodge crap going on with that, especially with the static.
I saw the boxing match as kind of a comment on nostalgia culture, especially with the performance by James right after. Big Ed, Bobby Briggs, Norma, almost everyone in the show is stuck in a rut, just digging in deeper and deeper. James's song was really disturbing to me, it made my skin crawl. The young girls singing have these vacant, dead expressions, and there's James, old, weathered, singing a song he wrote 25 years ago.

And here we are, begging to see Coop be himself again, cheering every time one of his old tics returns. Even his adventures are a kind of loop; obstacle appears, resolves itself, Dougie wins. We see Sonny Jim mechanically playing in the exact same way over and over.
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  #319  
Old 08-10-2017, 05:52 PM
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Re: e13 Boy did we get some interesting stuff in this episode. So the boxing match was particularly curious. Was that a old replay of Dougie's boss? This isn't the first time boxing had a mention. How about how while it's a loop she doesn't seem to notice. Also sonny Jims gymset really irks me. The spotlight is very reminiscent of the lodge and how it tracks him.
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  #320  
Old 08-13-2017, 09:13 PM
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Not sure what I watched, but it was great.

And that reveal about Diane's relationship. I was hoping she wasn't in cahoots with Dale's doppleganger but it really looks like she is.
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  #321  
Old 08-13-2017, 10:33 PM
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Sarah Palmer was the MVP of the episode.
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  #322  
Old 08-14-2017, 06:36 AM
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I also had a Monica Bellucci dream last night.

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  #323  
Old 08-14-2017, 08:39 PM
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Sarah Palmer was the MVP of the episode.
Yep. That took an interesting turn. Does this mean Bob is possessing multiple people or Sarah possessed by something else?

Oh, and I wasn't expecting Andy to be the guy who was chosen by cosmic forces to do their work and protect that eyeless woman. But I'm glad he was.

Also, Billy. That dude's terrifying.

Over all, a strong episode, though it doesn't assuage my fear that with four episodes left, we aren't actually going to see any closure. I mean, I knew Lynch was going to leave us with a lot of unanswered questions, but I feel like we might stop in mid-action and that's it. There's a lot of stuff to deal with in four episodes.
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  #324  
Old 08-14-2017, 09:46 PM
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Yep. That took an interesting turn. Does this mean Bob is possessing multiple people or Sarah possessed by something else?
She's either host to the frogbug from Part 8, or the experiment/Mother.
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  #325  
Old 08-15-2017, 03:33 AM
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I'm only a few episodes into the new season and I'm completely astonished by it. I was expecting a very conservative nostalgia exercise, but it does seemingly everything in its power to subvert that expectation - it's a genuinely groundbreaking realisation of what is possible with television.

(One of its best defences against lapsing into mere nostalgia is its transforming of so many familiar characters into grotesque monstrosities...)
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  #326  
Old 08-15-2017, 04:44 AM
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I was expecting a very conservative nostalgia exercise.
I wasn't simply because that doesn't seem very David Lynch, who seems to have complete creative control. For better and worse. Man, the restaurant franchising scene from a couple episodes ago is surprisingly heavy handed and weak. The lady taking too long to put her clothes on was kind of weak too, though it definitely is style of humour.

Fact is, I'm actually surprised (in a good way) more people haven't turned on this show (though I think people who were hoping for more nostalgia and weren't interested in the Lynchy-ness knew to get out of dodge after the premiere).
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  #327  
Old 08-15-2017, 05:42 AM
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A lesser artist than Lynch probably would have done a nostalgia tour and it might have worked, or it might have sucked. I'm glad he and Frost revisited the concepts but updated them for 25 years of advancement in the medium.
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  #328  
Old 08-18-2017, 05:06 PM
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Through all of the obvious craft and brilliance I've definitely had to grit my teeth through some of Lynch's more regressive tendencies. Like how the only black character so far has been a prostitute, fully nude in her first shot.
Yeah, there's always been a lot of reactionary stuff in Twin Peaks outside the violent misogyny (itself cranked up to 11 now), and it never seems to generate much discussion. The near-total absence of POC really sticks out. Working-class people are generally malevolent (straight-up living dead in this season) as a few people noted earlier, cops and FBI are righteous heroes who solve mysteries purely in pursuit of Truth (there are corrupt and/or stupid ones, but "bad individual cops" are central to cryptofash depictions of police authority), there's the suspect preoccupation with pre-Civil War America, a trans character who starts out alright eventually becomes the butt of jokes or is used to 'fool' the bad guys, and so on. I love Twin Peaks to bits, but it isn't just harmless weirdness...

(Sorry for the replies to old stuff - I'm combing over the thread periodically as I watch more. Just finished episode 11, which was one of the best, I thought. I wasn't expecting to be interested in the Mitchum brothers much but they've become really compelling. Jim Belushi is fantastic in this!)

Last edited by Klatrymadon; 08-19-2017 at 12:06 AM.
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  #329  
Old 08-20-2017, 01:58 PM
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Yeah, there's always been a lot of reactionary stuff in Twin Peaks outside the violent misogyny (itself cranked up to 11 now), and it never seems to generate much discussion. The near-total absence of POC really sticks out. Working-class people are generally malevolent (straight-up living dead in this season) as a few people noted earlier, cops and FBI are righteous heroes who solve mysteries purely in pursuit of Truth (there are corrupt and/or stupid ones, but "bad individual cops" are central to cryptofash depictions of police authority), there's the suspect preoccupation with pre-Civil War America, a trans character who starts out alright eventually becomes the butt of jokes or is used to 'fool' the bad guys, and so on. I love Twin Peaks to bits, but it isn't just harmless weirdness...

(Sorry for the replies to old stuff - I'm combing over the thread periodically as I watch more. Just finished episode 11, which was one of the best, I thought. I wasn't expecting to be interested in the Mitchum brothers much but they've become really compelling. Jim Belushi is fantastic in this!)
The cop worship, treatment of POC, and misogynistic violence is very real. I won't defend the misogynistic violence but I'll say that, for me personally, Sarah's eating a misogynist's jugular made up for a lot of it. I think the treatment of Duchovny in this season was a well-meaning attempt to show support for the trans community but was kind of dopey and ill-considered. I hadn't really noticed the obsession with pre-Civil War America, are you referring to those episodes where Ben Horne thinks he's a civil war character? Or something else?

I don't think the show is particularly classist. Everyone in the show is kind of trying to get by. Norma and Big Ed are good people and working class. Harry Dean Stanton's depicted as probably the most kind-hearted person on the show and he's clearly extremely poor. Ben Horn and Leland Palmer are two of the most evil characters in the original series and they're near the top in Twin Peaks socioeconomically.

There are a lot of working-class groteques, but grotesques have been Lynch's stock-in-trade since the beginning of his career.
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  #330  
Old 08-20-2017, 09:39 PM
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Man was that ever a good episode. Ths whole season has been incredible.
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