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TWIN PEAKS
I do wish it was more like the original series, which was definitely more entertaining. I've watched that one start to finish 3 times. I doubt I will ever watch this new series again. There's just not enough to emotionally hold onto. I don't care about a single character this time around (with the possible exceptions of Bobby, Albert and Cole, but they're still not giving me enough to really care).
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bfkiller wrote: It is definitely its own thing. I'm not sure how much I like it, but it is compelling TV that I'll continue to watch to see what other bizarre things have been swimming around Lynch's head.
I do wish it was more like the original series, which was definitely more entertaining. I've watched that one start to finish 3 times. I doubt I will ever watch this new series again. There's just not enough to emotionally hold onto. I don't care about a single character this time around (with the possible exceptions of Bobby, Albert and Cole, but they're still not giving me enough to really care).
Pretty much how I feel, I'm only watching - and I must stress only just hanging in - because I want an end to the story. I definitely will never watch this series again (it is a torture/boredom hybrid) and also agree about having no interest in any of the characters. He really is either getting his own back or taking the piss on a final blowout but the shows are 50% crap (to non-Lynchians), if they made him do it in the now-standard 10 episode season it may have been a widespread and critical success rather than an art house stunner.
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I wish this return had been a two and a half hour Netflix exclusive movie or something instead of what this turned out to be. It has its moments, but it's mostly been boring, distant and cold.
(Though I did love the Dougie scene this week. That was pretty much perfect. Notably, the scene took about 20 seconds, not 15 minutes.)
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Someone asked me recently what I would rate this new series, from 1-10. I said, "1-10." This episode being more in the 1 range.
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Grudunza wrote: Yeah, hoo boy. Episode 12 was a whole lot of nothing. I mean, yeah, there's some stuff going on, but just so slow and laborious, really. I know Lynch tries patience as a practice, and this may mean there's something big coming again, but wow, this was just difficult. You almost had to endure it.
Someone asked me recently what I would rate this new series, from 1-10. I said, "1-10." This episode being more in the 1 range.
It went sub-zero for me. He's just taking the piss.
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ELAINE: Really? What is it about?
RUSSELL: (a little more enthusiastic) Well, really, it's very unusual. It's about nothing.
ELAINE: (surprised) What do you mean it's about nothing?
RUSSELL: For example, what did you do today?
ELAINE: Um, I got up. Um, I went to work. Then I came here.
RUSSELL: There's a show. that's a show.
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Southernman wrote: Oh if only it was as interesting as that. Seriously, I just surf on my laptop with the episodes on in the background, with subtitles on for the inevitable crap sound quality, and stick my head up when it sounds like you need to visually notice something. If it wasn't for my compulsion to know how a story ends I doubt I would have got past episode four.
The story ends with millions of hipsters trolled. Some of them will sheepishly realize what happened, and the rest will deny it until the end of days.
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After some thought, I think the question "What year is it?" isn't literal one--all that matters is that it's a question at all.
Cooper and Laura haven't time traveled, they're somewhere artificial and "slippery." Judy steals away Laura when Coop is rescuing her, and Diane and Cooper give chase. The real Diane knows Cooper-- maybe even loves him--and trusts his intuition, so she plunges in with him. They drive 430 miles and enter into Judy's pocket dimension. Here, they seem to be indistinguishable from their Doppelgangers--Diane retains the trauma of her Tulpa (which she sees from the car) and Cooper maintains the steely, frightening drive of Mr. C (further evidenced when Cooper fries the guns. He seems to be threatening the waitress with his posture, and also warns the innocent chef that frying them might end up firing off a bullet and injuring/killing him).
Unable to deal with this (or maybe even stolen away by Judy) Diane "slips" away into Judy's ugly reality and become Linda to Cooper's Richard. Cooper might give up here, as he's once again lost someone he loves in the pursuit of good. But he remembers the giant telling him to remember "Richard and Linda."
The slipperiness of Judy's lair, I think, is mostly meant to disorient or discourage Cooper (or Jeffries, or anyone else who dove in to find her). Hence the motel shifting before and after Diane and Cooper stay. Or Laura being off at work that day. Or her being a murderer in this universe. Or guys pulling guns on him. But Coop reads the clues, beats all of Judy's trials, finds Laura, brings her to the Palmer home where Judy is holed up. The final hurdle for Cooper--beaten, lonely, and exhausted from the very long drive (if he slept, Judy would snatch him too, presumably)--is that Sarah isn't there.
Cooper is almost ready to cave at this point. He's clearly shaken by the defeat. For the first time in this universe, probably in the entire show, he doubts himself, that he's "Special Agent Dale Cooper." Maybe he is Richard after all. Maybe he should just go home and sleep and then slip, like Diane, into his new life.
But instead he remembers the constant question: "Is it future, or is it past?" He, with his impeccable intuition, asks the question, and overcomes Judy again. Maybe it's an answer to a riddle, or maybe it's proof of Cooper's pure and unwavering nature. I tend to believe it's more of the latter, but either way, he doesn't give up and proves he's the hero through and through. This either directly allows or compounds with some sliver of Sarah reaching out to Laura, and Laura suddenly remembers everything. She becomes Laura again. And being Laura, with all she's gone trough, is so horrifying that it causes her to scream in agony. But Judy, regardless, is finally defeated because of her presence.
The endless fields of throbbing power lines we've seen Mr. C following all season go dead, and the electricity finally goes out in the Palmer house.
Which means that the fan stops spinning and hopefully will never start again.
And a response to it adds another piece; another factor in Laura's awakening that rings true... she actually realizes she doesn't really know what year it is, and the realization snowballs from there:
I think one thing where you didn't fully hit the bullseye, but almost, concerns lucid dreams.
People who experiment with lucid dreams regularly perform "reality tests" (x) when they're awake to try to determine whether or not they're dreaming. If the test has one outcome, they conclude they must be awake. If it has another outcome, they conclude they must be dreaming. Eventually, performing this test becomes a habit, and so they start doing it in their dreams as well. At some point, the test will result in the realisation that they're dreaming. This realisation makes them lucid in the dream - a drastically sharpened awareness. They no longer just go with the flow and accept the dream reality, the way people who dream usually do - they become fully awake, but in a dream. This allows the lucid dreamer to consciously control the dream in ways non-lucid dreamers can't.
When Dale Cooper asks the question "What year is this?", this is such a reality test. Laura Palmer realises she doesn't know the answer, a question she'd know the answer to if she were awake. She thus realises that the "reality" she's in, isn't "real", she's in a dream. Then comes the sound of her mother calling out for her (a memory?). This brings her to complete lucidity. She's now wide awake, and knows she's Laura Palmer, and knows the dream she's in isn't hers - it's the dream of a very powerful, malevolent being, the one we've come to know as Judy.
This realisation fills her with horror, and she screams. And like in nightmares, where feeling intense horror can make you wake up, Laura Palmer wakes up - which shuts down Judy's dream.
While the sudden ending felt like a punch in the gut to me when I saw it, this is a "happy" ending. Dale Cooper and Laura Palmer both had crucial roles to play in a plan devised by the beings in the white lodge, and both succeeded. Dale Cooper's role was to make Laura Palmer lucid by asking the right question at the right "place". Laura Palmer's role was to end Judy's dream.
Source: www.reddit.com/r/twinpeaks/comments/6y2n...hare&ref_source=link
I'm honestly not sure where I stand with the Dark Tower style ending. Still mulling things over... and over.
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Source: en.wikipedia.org/wiki/DemiurgeOne Gnostic mythos describes the declination of aspects of the divine into human form. Sophia (Greek: Σοφία, lit. "wisdom"), the Demiurge's mother a partial aspect of the divine Pleroma or "Fullness," desired to create something apart from the divine totality, without the receipt of divine assent. In this act of separate creation, she gave birth to the monstrous Demiurge and, being ashamed of her deed, wrapped him in a cloud and created a throne for him to be within it. The Demiurge, isolated, did not behold his mother, nor anyone else, and concluded that only he existed, ignorant of the superior levels of reality.
The Demiurge, having received a portion of power from his mother, sets about a work of creation in unconscious imitation of the superior Pleromatic realm: He frames the seven heavens, as well as all material and animal things, according to forms furnished by his mother; working however blindly, and ignorant even of the existence of the mother who is the source of all his energy. He is blind to all that is spiritual, but he is king over the other two provinces. The word dēmiourgos properly describes his relation to the material; he is the father of that which is animal like himself.
Thus Sophia's power becomes enclosed within the material forms of humanity, themselves entrapped within the material universe: the goal of Gnostic movements was typically the awakening of this spark, which permitted a return by the subject to the superior, non-material realities which were its primal source.
This Demiurge really does consider everything to be 'explained' (jiao dai = 'to explain', with other Chinese pronunciations translating into words like "tape", "glue", "belt", basically things that bind or hold together) but is in fact as deceived as it is deceiving. I also find the Gnostic concept of the "divine spark" to be conspicuously perverted by Lynch's use of electricity, "black fire," and "gotta light":
en.wikipedia.org/wiki/Divine_Spark
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bfkiller wrote: Heh. Doesn't it feel good to finally have closure?
LOL
Uh wow. Yeah. The whole of it feels like a pretty big troll by Lynch. Fun enough ride at times, but I wish that ride were about 5-6 hours shorter.
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