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TWIN PEAKS
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That seemed like a pretty interesting transition episode. Like some things are happening again after some setup and downtime in the last few. I'll look forward to the grisly death of that asshole coke dude. Damn...
I think the star cameo things are fine as long as there's some purpose and they're not just "lookie here, I'm on Twin Peaks!" Naomi Watts isn't really a cameo... pretty significant part. And I expect the same for Laura Dern. It remains to be seen whether that's the case for others like Jennifer Jason Leigh and Michael Cera, though I loved his part so much that I wouldn't care if it was a one-off. It was very Twin Peaks (well, and Brando) and fitting.
So so glad to see Madchen Amick back again. In anything. Stunning.
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- Black Barney
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whatever this look was, this used to light me up in university. There was a cashier in the grocery store I used to work that looked just like this and I couldn't get enough of her.
Anyway, not my type anymore and after CPW, she aged pretty quickly and fell off the map for me.
Glad she still has fans tho
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"When Coop turns in Dougie’s case files at the insurance company the next morning, full of scribbles of ladders and steps and circles leading to other circles, his boss initially dismisses him. “What the hell are all these childish scribbles? How am I going to make any sense out of this?” Moments later, after holding the papers next to each other like Twin Peaks’ most devoted puzzle solver, the boss looks at Coop with a strange and worrying recognition dawning on his face. “I want you to keep this information to yourself. This is disturbing, to say the least … You’ve certainly given me a lot to think about.”
"It’s the same promise Lynch keeps making over and over again in his work: If you look at it long enough, in context, somehow it will make sense."
www.vulture.com/2017/06/twin-peaks-the-return-recap-part-6.html
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THIS SEASON'S HOTTEST SHOW IS........TWIN PEAKS.
IT HAS EVERYTHING.
POTATO CHIPS.
LAURA DERN IN A WIG.
WHITE GUYS DOING COCAINE KARATE.
AND OF COURSE A TRAILER PARK HARRY DEAN STANTON.
"I'm afraid to ask...but what is a trailer park Harry Dean Stanton, Stefon?"
"It's that thing where three midgets named Harry, Dean, and Stanton cover themselves in flannel and newspapers and smoke cigarettes in a public park"
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Um.
I need hugs from bunnies and puppies.
Shades of Eraserhead, 2001, and uhh, who the fuck knows... Not just another episode of King of Queens, though, that's for sure. Easily one of the most unusual hours of television ever. I loved every second from the 1945 part on, and maybe understood about five seconds of it all. Unbelievable sound design and imagery throughout. The SFX have been iffy on this series up until now, but it looks like they spent the whole season's budget on this one.
My best guess at what happened:
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- Black Barney
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Black Barney wrote: I don't watch the show and I read Gruds spoiler text out of curiousity. It's like I'm reading L. Ron Hubbard scripture or something. So confusing and wacko
Yeah, you got it.
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The next thought, as the Enter the Void miasma started to fade like a hangover and became the Convenience Store stroboscopic extravaganza: "good fucking luck with this one, Laura Hudson."
I think this guy over at Idle Thumbs basically nailed the "mythology" transcription:
Penderecki's threnody (the atomic bomb) begat, or ripped a hole for, the dark mother entering our world. We recently saw her trapped in the cube eating the couch couple and I am guessing that was the creature depicted here.
The dark mother puked up Bob in spirit. Bob manifested here in the form of a cicada frog. The woodsmen, also unleashed by a rift, or born from the aftermath, of the a-bomb, conditioned hosts for the Bob-frog via their radio message. Bob-frog climbed into, or rode, his first host (the way one might, say, ride a horse as mentioned in the woodsman's words), the girl on the bed.
The giant is the opposite of the dark mother and birthed goodness, in the form of Laura, to thwart Bob/the dark mother spirit thing that the bomb unleashed.
I don't think it's happenstance that technology is the means of Bob's first host's conditioning.
The woodsmen are asking for fire, the first human technology -- "Got a light?" They manipulate, and travel via, our electronics. That fits with all the themes of electricity, static, distortion, the light pole, etc. We doomed ourselves.
That's my guess. It's a bit literal.
I think he missed the pun with "Got a light?" though... Meaning "got some good shit that I can snuff out right now? Stand still." Also, I think the technology angle is a little misguided, considering the gramophone & Tesla-topped boilers all over the place in what seems to be the White Lodge. If you want to get all mythological, it's just straight up Thanatos, but I think that reducing the lore to Light v. Dark is oversimplifying things a little. "A bit literal" might be right.
It just felt nice to be lost in this like in Eraserhead.
Anyway, I loved this episode.
It really flies in the face of a certain hermeneutic expectation that persists in contemporary TV viewership, complemented by a cottage industry of expert interpreters who regurgitate exposition, preferably with a "meta" remove where they borrow some of the show's tropes in the writing for extra cred. I'd always assumed that the original run of Twin Peaks had, by its conclusion, abated some of this, but judging from most of the recent criticism it seems to still be alive and well, splitting itself between whining over the Dougie saga or fruitlessly analyzing numerological details.
Lynch's response to this seems to be: "Got a light?"
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Felt like anything could happen. Not sure I've truly felt that way when watching anything else.
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Lynch is pranking you, and offers little more depth than a Hot Topic t-shirt. This shirt says, "If you keep staring, I might do a trick."
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Shellhead wrote: Uh, oh. Looks like some folks descended into the well and drank the water.
Lynch is pranking you, and offers little more depth than a Hot Topic t-shirt. This shirt says, "If you keep staring, I might do a trick."
It's more about the journey than the destination.
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