Twin Peaks Season 3 (May 21st)

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby internethandle » Mon Jan 08, 2018 6:14 am

no it's the same. now i just feel green because i literally know nothing about televisions and this is apparently common knowledge. i did know you can turn it off, i guess.
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Postby OKterrific » Mon Jan 08, 2018 5:26 pm



look familiar?
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Postby internethandle » Mon Jan 08, 2018 5:51 pm

the orb?

really can't wait to go watch 4 through 8 today. the experience of the re-watch somehow exceeded my already inflated fanboy expectations.

some don dons of sorts that i didn't quite catch the first time around:

- sabrina sutherland plays the casino floor worker who first congratulates dougiecoop during the hellooo sequence and tries to collect his winnings/keeps him from leaving the casino without collecting
- american girl/ronette says to coop "when you get there, you will already be there" in the fireplace room, so you could build a case for a reading re: dianenaido and/or other denizens already knowing the swap with doppelcoop is failing and that he's about to swap with dougie instead. the real dougie has already been reduced to a seed by that point, i think.
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Postby creedence tapes » Mon Jan 08, 2018 6:42 pm

I'm 3 episodes into the rewatch and yea I felt pretty strongly this time around that everything happening after coop tries to leave is a big "plan b" for the lodge

Also decided to watch season 2 from right after lelands reveal just for kicks

Forgot all about this bonkers scene.

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Postby internethandle » Mon Jan 08, 2018 6:50 pm

yeah. i suppose i could add that it made sense to me that when he's looking through the curtain a la

Image

that that was meant to be the conduit through which he swapped with doppelcoop before that process was interrupted by the arm's doppelganger
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Postby delgriffith » Mon Jan 08, 2018 7:33 pm

creedence tapes wrote:I'm 3 episodes into the rewatch and yea I felt pretty strongly this time around that everything happening after coop tries to leave is a big "plan b" for the lodge

Also decided to watch season 2 from right after lelands reveal just for kicks

Forgot all about this bonkers scene.

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Postby internethandle » Mon Jan 08, 2018 7:38 pm

got real sad when the part 4 credits rolled and the "in memory of" was for don and miguel ferrer :(
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Postby spix et chicho » Mon Jan 08, 2018 10:38 pm

has anyone read or written any takes on what exactly Lynch might have been going for with the bizarre style and background actors in e6 when the kid gets killed? still as perplexingly strange as the first time I saw it.
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Postby manvstrees » Mon Jan 08, 2018 11:20 pm

i feel like they form a great contrast to hds expression, and are also sortof horrifying yet on the same level of cheese as the goofy soul glow effect
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Postby john plainman » Mon Jan 08, 2018 11:23 pm

internethandle wrote:yeah. i suppose i could add that it made sense to me that when he's looking through the curtain a la

Image

that that was meant to be the conduit through which he swapped with doppelcoop before that process was interrupted by the arm's doppelganger


yeah i didnt recognize that the arm had a doppleganger until my rewatch the other night. NON EXIS TANT
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Postby FourLegsGood » Mon Jan 08, 2018 11:59 pm

spix et chicho wrote:has anyone read or written any takes on what exactly Lynch might have been going for with the bizarre style and background actors in e6 when the kid gets killed? still as perplexingly strange as the first time I saw it.


I read a good take when that episode aired that matched up with what I felt he was attempting (though I couldn’t quite articulate it myself). I’m sure it’s wayyyy upthread somewhere.
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Postby FourLegsGood » Tue Jan 09, 2018 12:21 am

Still looking for the article but this was sort-of my take on it:

Davies has always been a character from a Lynch film and I'm glad he finally self-actualized in front of us. Naomi Watts continues to amaze. Her dialogue about the 99% seemed an update on the original's seriocomic send-up of soap opera tropes and her delivery was pitch perfect: exaggerated, dramatic, ridiculous, and affecting. Similarly, the extended shots of the bystanders' reactions to the kid's death seemed to spit in the face of the scene's unearned sentimentality. We didn't know the kid. He had no character development. It was suuucchhh an obviously cheap plot device used to further Richard's character (while establishing Harry Dean Stanton) and one that everyone could see coming from a mile away. The fact that Lynch interspersed some stunning cinematography/framing during that scene while continuously cutting back to a bunch of community college actors standing around REACTING without helping was great. For HDS to come in and inject that kinda emotion into the thing on top of all that was next level.



Doesn't quite sum up what I was trying to say, which is that Lynch expertly grafted layers to what is typically a very one-note sort of plot device in this kind of storytelling. He managed to simultaneously mock the convention by showing us the seams and how we look to the chorus for our emotional cues while also somehow simultaneously landing an emotional punch, undiminished (and perhaps even bolstered) by the sheer tonal chaos of what's happening. I think he achieves this by misdirecting the emotional core of the scene which would typically be about the tragic loss of the little boy. By taking the piss out of that unearned sentimentality over a character who existed for ten seconds specifically to propel the narrative, the emotional core of the scene comes from Harry Dean and his processing of the world and what is happening all around him and HDS just nails it.
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Postby Kenny » Tue Jan 09, 2018 8:25 pm

I'm just catching up on reading the last several pages but I wanted to add that my gf also needed big breaks between episodes because of the violence towards women.
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Postby light rail coyote » Tue Jan 09, 2018 8:36 pm

FourLegsGood wrote:Still looking for the article but this was sort-of my take on it:

Davies has always been a character from a Lynch film and I'm glad he finally self-actualized in front of us. Naomi Watts continues to amaze. Her dialogue about the 99% seemed an update on the original's seriocomic send-up of soap opera tropes and her delivery was pitch perfect: exaggerated, dramatic, ridiculous, and affecting. Similarly, the extended shots of the bystanders' reactions to the kid's death seemed to spit in the face of the scene's unearned sentimentality. We didn't know the kid. He had no character development. It was suuucchhh an obviously cheap plot device used to further Richard's character (while establishing Harry Dean Stanton) and one that everyone could see coming from a mile away. The fact that Lynch interspersed some stunning cinematography/framing during that scene while continuously cutting back to a bunch of community college actors standing around REACTING without helping was great. For HDS to come in and inject that kinda emotion into the thing on top of all that was next level.



Doesn't quite sum up what I was trying to say, which is that Lynch expertly grafted layers to what is typically a very one-note sort of plot device in this kind of storytelling. He managed to simultaneously mock the convention by showing us the seams and how we look to the chorus for our emotional cues while also somehow simultaneously landing an emotional punch, undiminished (and perhaps even bolstered) by the sheer tonal chaos of what's happening. I think he achieves this by misdirecting the emotional core of the scene which would typically be about the tragic loss of the little boy. By taking the piss out of that unearned sentimentality over a character who existed for ten seconds specifically to propel the narrative, the emotional core of the scene comes from Harry Dean and his processing of the world and what is happening all around him and HDS just nails it.


i normally hate when directors try to do what lynch does in this scene because so few ever manage to pull it off without undermining the genuine emotions that underline scenes like this. lynch understands that the scene is a hammy, overused trope but doesn't just wink at the audience to undermine it- he somehow manages to hit both notes simultaneously- and i can't think of anyone else who manages that but admittedly i'm probably the least educated on film history of anyone in the thread so take that with a grain of salt.

this is probably a really elementary observation, but when i think of "lynchian" as an aesthetic or tone or whatever, i think of the sense of confusion and unease at being forced to feel multiple contradictory emotions at once without the show or movie giving you any indication of which of those feelings is supposed to be dominant or correct. the disorientation doesn't come from the whiplash of doing a bunch of things in succession but from the tension of feeling multiple emotions simultaneously and having no clue how to reconcile them with each other. he plays the space between these emotions really well by sitting the audience directly in that space rather than inside the emotions themselves.

:ugeek:
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Postby spix et chicho » Tue Jan 09, 2018 8:51 pm

great thoughts you guys! definitely articulating some ambiguous feelings I had while watching it last night.
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Postby manvstrees » Fri Jan 12, 2018 11:14 pm

did we get reactions to sarah's final piece for artforum
cause it was a doozy
Flutehampton will turn out to have always been relished by women who dwell in or near to the past. This is where The Little Reptiles were digitally collected. In recent decades it has become a popular photographic background whenever a maverick cop marries a hooker with a heart of gold.
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Postby john plainman » Fri Jan 12, 2018 11:48 pm

manvstrees wrote:did we get reactions to sarah's final piece for artforum
cause it was a doozy



I dont know what that is
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Postby manvstrees » Fri Jan 12, 2018 11:55 pm

Flutehampton will turn out to have always been relished by women who dwell in or near to the past. This is where The Little Reptiles were digitally collected. In recent decades it has become a popular photographic background whenever a maverick cop marries a hooker with a heart of gold.
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Postby john plainman » Sat Jan 13, 2018 12:10 am

Damn, I really like the catch on that Orpheus reference
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Postby john plainman » Sat Jan 13, 2018 12:43 am

what a great article, thanks
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Postby glock mane » Sun Jan 14, 2018 1:42 am

whoa i had given up hope that there'd be one for the finale
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Postby forest design » Mon Jan 15, 2018 4:53 am

Nice, me too. Can’t wait to find a moment to read it
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Postby fox » Mon Jan 15, 2018 5:52 am

light rail coyote wrote:
FourLegsGood wrote:Still looking for the article but this was sort-of my take on it:

Davies has always been a character from a Lynch film and I'm glad he finally self-actualized in front of us. Naomi Watts continues to amaze. Her dialogue about the 99% seemed an update on the original's seriocomic send-up of soap opera tropes and her delivery was pitch perfect: exaggerated, dramatic, ridiculous, and affecting. Similarly, the extended shots of the bystanders' reactions to the kid's death seemed to spit in the face of the scene's unearned sentimentality. We didn't know the kid. He had no character development. It was suuucchhh an obviously cheap plot device used to further Richard's character (while establishing Harry Dean Stanton) and one that everyone could see coming from a mile away. The fact that Lynch interspersed some stunning cinematography/framing during that scene while continuously cutting back to a bunch of community college actors standing around REACTING without helping was great. For HDS to come in and inject that kinda emotion into the thing on top of all that was next level.



Doesn't quite sum up what I was trying to say, which is that Lynch expertly grafted layers to what is typically a very one-note sort of plot device in this kind of storytelling. He managed to simultaneously mock the convention by showing us the seams and how we look to the chorus for our emotional cues while also somehow simultaneously landing an emotional punch, undiminished (and perhaps even bolstered) by the sheer tonal chaos of what's happening. I think he achieves this by misdirecting the emotional core of the scene which would typically be about the tragic loss of the little boy. By taking the piss out of that unearned sentimentality over a character who existed for ten seconds specifically to propel the narrative, the emotional core of the scene comes from Harry Dean and his processing of the world and what is happening all around him and HDS just nails it.


i normally hate when directors try to do what lynch does in this scene because so few ever manage to pull it off without undermining the genuine emotions that underline scenes like this. lynch understands that the scene is a hammy, overused trope but doesn't just wink at the audience to undermine it- he somehow manages to hit both notes simultaneously- and i can't think of anyone else who manages that but admittedly i'm probably the least educated on film history of anyone in the thread so take that with a grain of salt.

this is probably a really elementary observation, but when i think of "lynchian" as an aesthetic or tone or whatever, i think of the sense of confusion and unease at being forced to feel multiple contradictory emotions at once without the show or movie giving you any indication of which of those feelings is supposed to be dominant or correct. the disorientation doesn't come from the whiplash of doing a bunch of things in succession but from the tension of feeling multiple emotions simultaneously and having no clue how to reconcile them with each other. he plays the space between these emotions really well by sitting the audience directly in that space rather than inside the emotions themselves.

:ugeek:


both post dapped

lynch is extremely good at straddling between sincerity and irony and managing to hit both at the same time. see also: every scene in blue velvet.
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Postby OKterrific » Wed Jan 17, 2018 5:18 pm

:)

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Postby forest design » Wed Jan 17, 2018 6:06 pm

I know this has been said in this thread before, but it feels like a dream that there was a time that we got to watch this week by week. Where I would look forward to it and make sure to carve out time and turn off all the lights and have a new and amazing hour long movie every week.
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Postby warmhouse » Wed Jan 17, 2018 11:18 pm

I was just watching the BTS stuff and in one of the production meetings an assistant is flipping through the script and it's fuckin a ream of paper. Would love to browse through that bad boy on a winter's night.
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Postby fosse » Fri Jan 19, 2018 8:35 am

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Postby Esteban » Fri Jan 19, 2018 11:06 pm

So Sherilyn Fenn is raising money for a #MeToo lawsuit that she can't talk about yet :?

https://www.gofundme.com/sherilyns-metoo-legal-battle
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Postby forest design » Sat Jan 20, 2018 12:33 am

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Postby FourLegsGood » Sat Jan 20, 2018 12:48 am

My gf thinks it's actually Kyle Maclachlan that they're coming after.
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