Twin Peaks

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Postby Esteban » Fri Sep 15, 2017 7:03 pm

:cry:
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Postby bongo » Fri Sep 15, 2017 7:12 pm

ah man fuck that wrecked me
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby fox » Fri Sep 15, 2017 7:18 pm

Man.
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Postby shacky » Fri Sep 15, 2017 8:02 pm

this is fucking shit
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Postby Rainbow Battle Kid » Fri Sep 15, 2017 8:36 pm

that rules
Much Honoured Lord Nefarious wrote:rainbow battle kid you can kindly get the FUCK out of this thread while the adults have actual STAR WARS discussions.
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Postby REAL BASED SLOB » Fri Sep 15, 2017 10:49 pm

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When John Walsh refers to criminals as cowards and creeps I just get more jacked
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Postby bongo » Fri Sep 15, 2017 10:51 pm

lol
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Durham » Fri Sep 15, 2017 10:57 pm

Already have tix to see Mulholland Drive at the theatre tomorrow but i might have to make it a double with FWWM too even tho I don’t know if my psyche can take it
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Postby Bad Craziness » Fri Sep 15, 2017 11:06 pm

I saw FWWM for the first time in a theater a couple years ago and I have to be honest it was not a good time
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Postby worrywort » Fri Sep 15, 2017 11:36 pm

good times are overrated
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Postby a is jump » Sat Sep 16, 2017 12:01 am

May have posted about this before, but it seems like FWWM just plays really weird with a crowd. I've seen it a couple of times in the past 5-10 years, and it's clear that people experience that movie in drastically different ways. There is always a lot of laughter in the more intense parts, like Leland revving the engine, the "how do you know what she likes?" scene, etc. that I can't tell if it's nervous laughter, or people thinking they're watching a bad movie.

Pink Room does fucking slay on a loud theater sound system.

One of the times I saw it, it was the non-trimmed answer print they used to make the DVDs from. It was fucking flawless and beautiful in 35mm.
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Postby deadbass » Sat Sep 16, 2017 12:19 am

I brought FWWM with me to my parents house last weekend so my brother could watch it in anticipation of him watching the new series. For some reason, my parents, who do not enjoy movies that are unusual in any way, and have never seen Twin Peaks, wanted to watch it with us. It’s still kind of making me laugh thinking of the looks on their face for the last half hour of the movie.
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Postby delgriffith » Sat Sep 16, 2017 12:22 am

a is jump wrote:May have posted about this before, but it seems like FWWM just plays really weird with a crowd. I've seen it a couple of times in the past 5-10 years, and it's clear that people experience that movie in drastically different ways. There is always a lot of laughter in the more intense parts, like Leland revving the engine, the "how do you know what she likes?" scene, etc. that I can't tell if it's nervous laughter, or people thinking they're watching a bad movie.

Pink Room does fucking slay on a loud theater sound system.

One of the times I saw it, it was the non-trimmed answer print they used to make the DVDs from. It was fucking flawless and beautiful in 35mm.

Yeah had the same experience watching it with a crowd for the first time recently. Probably wouldn't do it again, however cool it was to hear Pink Room played super loud.
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Postby Webb Bored » Sat Sep 16, 2017 1:35 am

Anybody post this dugpa yet? Dude on Carrie's couch looks a lot like Jeremy Davies's colleague.

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Carrie is the dreamer.
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Postby Esteban » Sat Sep 16, 2017 4:45 am



Now this is an Instagram page
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Postby Bad Craziness » Sat Sep 16, 2017 4:54 am

ok so I MISSED THIS

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Postby fox » Sat Sep 16, 2017 4:56 am

I kind of thought that Couch Dude looked like Shining Nicholson.
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Postby quinine » Sat Sep 16, 2017 10:59 am

Bad craziness wrote:ok so I MISSED THIS

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this looks like some showtime promo shit but still :hearteyesemoji:
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Postby quinine » Sat Sep 16, 2017 11:03 am

Bad craziness wrote:I saw FWWM for the first time in a theater a couple years ago and I have to be honest it was not a good time


the first time I saw this was in the theater the night before the s3 finale and it was a p good time, but I sorta knew what I was getting into I guess and was not expecting it to be the kind of movie you can digest in one viewing, so I was just letting it wash over me. also it was a midnight screening p much all fans I think so the crowd wasnt an issue
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Postby forest design » Sat Sep 16, 2017 12:37 pm

manvstrees wrote:did you know that my favorite director had retired and then came back from that to make a new 18 hr film about the greatest fictional world that ever was



Finally reading through the thread and this made me
:cry: :D
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Postby OKterrific » Sat Sep 16, 2017 1:07 pm

mcwop23 wrote:no need for lame earnest dad posts
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Postby bongo » Sat Sep 16, 2017 1:08 pm

fuck
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby forest design » Sat Sep 16, 2017 1:15 pm

delgriffith wrote:Wrote this in the afternoon without a totally straight face:

delgriffith wrote:What frightens me most about tonight is the possibility that love is not enough.


But it basically ended up being the case.


And this
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Postby forest design » Sat Sep 16, 2017 2:48 pm

naturemorte wrote:hey guys, i haven't been able to keep up with this thread, which is a bummer, so i don't know where all our dugpas are at after that. i had to get my way of parsing this down, eventually i'll go back and try to link it up with other thoughts in this thread when i can work back through everything. anyway, here's 3000 words on the new twin peaks I wrote tonight:
Code: Select all
 Twin Peaks really sort of spawned two genres of television: one branch is based on a premise: (Veronica Mars, The Killing, whatever). Those shows work with the formula of geographic region+intergenerational conflict+horrible murder mystery+soap opera elements, and is thematically interesting but totally irrelevant to Twin Peaks: The Return. The other branch began as like a specific kind of episode in certain shows like the Sopranos and Mad Men, the "Kevin Finnerty" episodes where characters get hit in the head or take some drugs and become another person for an episode. iIt's a way of sort of invoking the metatextual level of fiction by making a shortcut between the unconscious mind of the protagonist and the idea of television genre. Basically, it's an inversion of breaking the fourth wall: rather than revealing everything to be a construction by an author, these bottle episodes allow the show's self-referentiality to emerge from the mind of the character himself/herself: the fact that the character is a figment of TV artifice is in fact “all in his mind.”

This eventually became a genre in and of itself, particularly through Lost, The Leftovers and now Westworld. All of these shows are basically about characters in search of an author: the only logic that explains their behavior or the circumstances that befall them is that of television genres. Take for example, in season 2 of the Leftovers, when Kevin kills himself and wakes up as an assassin in another sort of alternative, self-consciously stereotypical TV genre universe. It’s very difficult, I think, to watch these episodes or these kinds of shows and not think about how the characters are essentially puppets or chess pieces being pushed around by writers. There’s often something explicitly violent about these moments: either it’s the violence of a character forcibly tearing a hole in the textual cohesion of the show to step into another channel, or it’s the violence of the intrusion of the author into the text to push the characters around. (“Westworld” is organized entirely around this kind of violence, the fact that we so deeply associate the violation of a text with the violation of actual flesh.)

“Twin Peaks”--alongside “Mulholland Drive” and “Inland Empire”--is also partly about this kind of violence. It’s about the perverse whims of the gods, about the pleasure and the horrible violence that is felt when the gods come down to the realm of creation to satisfy their desires. In the later films, its cast explicitly in the world of film production or the dream factory; both present texts-within-a-text whose boundaries are pried open to great psychic distress.* You can express this very clearly via Foucault’s description of the “author function” in contemporary literature:

“It implies an action that is always testing the limits of its regularity, transgressing and reversing an order that it accepts and manipulates. Writing unfolds like a game that inevitably moves beyond its own rules and finally leaves them behind. Thus, the essential basis of this writing is not the exalted emotions related to the act of composition or the insertion of a subject into language. Rather, it is primarily concerned with creating an opening where the writing subject endlessly disappears.”

Obviously Twin Peaks goes about creating this opening, “testing the limits of its regularity,” largely through the black lodge and the supra-reality it implies. The Return has gone a lot further in laying out the extended geography of this otherworldly place, but there’s no question that the lodges were always positioned as spaces of control: dreamworlds where alternate identities were formed, obscure machinations were set off, spaces from which a character could apprehend from outside the contours of their own subjectivity. This was also the space of authorial intervention and textual rupture, the space where the violence that suffuses the world of the narrative originates. For lynch, this is the space of accident and pure instinct: it’s no surprise that Bob, symbol of otherworldly violence, entered into the text of “Twin Peaks” by way of an accident in which a member of the crew crossed over from the world of the production into the world of the show. But it’s interesting that Lynch cast himself as Cole, the head of the FBI and maintainer of order, but also, from his chaste kiss with Shelly towards the end of the original series, to his egregious dirty-old-man-isms of “the return,” the winking indulger of innocent desires...

Lynch’s appearance in the series was part of his signature: the original auteur TV show, Twin Peaks’s most profound innovation is this introduction of the author function into the text. But in a way, this flagrant display of creative impetuousness is also the smartest thing it stole from soap opera, where characters are also arbitrarily mirrored, marked as good or evil, where personae go into comas and wake up as a different person, or reveal themselves to have been another person, or a twin, or a long lost brother or sister, where characters suffer amnesia or suddenly remember a terrible secret. In soap opera, these contrivances were always fairly transparent interventions of extra-textual reality into the diegetic world of the narrative, usually due to a contract expiring or an actor getting bored or the writers’ need to kickstart some new plot lines.

Twin Peaks recognized the possibility for authorial freedom in the the soap opera's absurd malleability of character, transforming it from a marker of the external economic, logistical and audience-pleasing necessity into a platform for radically experimental television. The transparent fan-service "it was all a dream" end of the "Who Killed JR" plotline of “Dallas”, the "it was all an autistic fantasy" curveball of "St. Elsewhere"--these weren't the things that Twin Peaks was escaping from when it went about transforming the soap opera into "prestige TV"--these were the conditions that enabled it, the absurdities that made room for the show’s more knowing and subversive forms of surrealism.

In fact, you can map the two finale episodes of "The Return" according to the dual precedents of "St. Elsewhere" and "Dallas." The former’s snow-globe metaphor implied not only that the contents of the entire series (and by extension for this deeply intertextual show, much of the extended landscape of dramatic television of the 90s and 00s) were a fantasy projected by an autistic child; it also suggested that the series was a plaything, a distracting artifice conjured up by writers, directors, actors, crew. It was, in fact, the ultimate violent authorial intervention--according to cast member Bonnie Bartlett, the decision was motivated by the writers’ desire “to do an ending to the show in a way so that it could never be brought back again. They really wanted to kill the show.”

On the other hand, the “it was all a dream” revision of Dallas represented an obvious capitulation to the desire of the audience--to reset after taking a wrong turn as a series. If the force of authorial intrusion is coded as violence, then the intrusion of the audience into the fiction is often restorative and constructive: the power of audience desire can reverse time, join characters together in matrimony, bring characters back to life, even resurrect entire series, as Twin Peaks: The Return itself testifies.* The force of audience desires can be felt throughout The Return, especially in its very pronounced fan-servicey elements, which were especially awkward in two ways: one, because they seemed to exist in total isolation from the main narrative lines of the show, which otherwise seemed to be actively antagonistic to fan expectations; two, because of the issues of death and aging that were built into the show both thematically and logistically.

The best example of the first awkwardness is the Audrey plotline, which is totally insulated from almost every other narrative element, and which coalesces at once in the straight-up fan-service fantasy of “Audrey’s dance,” followed swiftly and harshly by the shot of Audrey, seemingly without makeup, framed in a cosmetic mirror against a totally white background: after being given her moment in the spotlight as a pure fulfillment of audience desire, the show suggests in the most economical way possible that she may exist as a captive in some space adjacent to the world of the narrative: perhaps she is “the dreamer,” the glue that holds this world together; but it is equally likely that she exists outside the text entirely, perhaps even in the “real world” that we ourselves inhabit: the world of slowly-decaying mortals.

The best example of the second awkwardness is obviously in the show’s casting of Catherine Coulson, the way it folds her own illness and death into that of the character. Undoubtedly, this was some of the first material shot for the series, indicative of the longstanding importance of this character to the identity of the show, as well as her decades-long relationship with Lynch. The presence of “the log lady” was essential to The Return, and she plays a crucial role in initiating the drama and providing guidance to the sheriff’s department (in a manner directly referential to her “episode introductions” during the series’ 1993 syndication–further evidence of her centrality to and stewardship of the franchise). Her role in the series and its narrative are deeply connected to the revitalizing impulse of the audience, so it is particularly poignant and unsettling that it is through her that the fans must face the very real limit of mortality and the acknowledge the violence unleashed in the breaking of the boundary between the mythic world of the series and the world beyond it. One could say something similar about bowie’s replacement with a giant tea-kettle: like steam evacuating from a spout, the phantasm put up in his absence represents the projective and spectral force of our desire; one might also link this relationship between the breaking of narrative boundaries and violence to the nuclear detonation in episode 8...

The second-to last episode of "The Return" seemed to be structured entirely around the resurrection impulse that underlies much of the series, around the desire to "return" both temporally and spatially to the origin point and live it again, and to erase or heal the fundamental act of cruel violence which set the show in motion. It indexes the wish to exit the world of the show by sealing it within its own nostalgic, innocuous causality loop--a move which, in some ways, gives the control of the text to its viewers rather than to its author. In transporting himself back to the decisive moment between “Fire Walk With Me” and the pilot, Coop comes to occupy this role, projecting himself into the text both as spectator and as guardian. When he presents himself to Laura, the force of this restorative desire is manifested literally in the uncanny blurring of present-day Sheryl Lee and her younger self.

It’s in this episode that we come to fully identify with Coop, not just as the protagonist, but as the agent of restoration and order and the guarantor of the navigability of the show’s arcane mythos. Much in the way “the force” operates in “Star Wars: The Force Awakens” as an ambient manifestation of audience desire (I can’t seem to find the great essay that makes this point), the constant apparitions that guide Dougie away from danger and slowly towards his resurrection as Dale Cooper signal our own protective instincts towards this beloved character. The absurd maintenance of normalcy in the face of Dougie’s aphasia serves as an ironic reflection of our own overdetermined expectations. When he finally awakes, his preternatural confidence and messianic knowledge of everything that has happened and will happen reinforce our belief in a coherent plan underlying the show’s many bizarre detours and non sequiturs .

The last episode of the show, so clearly signaled under the sign of the dream, swerves hard against the plausibility of such coherence: like the “snow globe” finale of “St. Elsewhere,” the episode brutally revokes the sense of power endowed to the viewer by the previous episode and reinscribes the mythos firmly under the sign of a capricious, even malevolent author. Despite Agent Cooper’s confidence in his navigation, the episode’s surreal and uncanny touches, like the overnight change in his motel location, the disappearance of Diane and the ultimate frustration of his attempt to bring Laura back home suggest he may be cast adrift in a purgatorial labyrinth a la LOST. The last episode again refers back to the earlier series, but mainly to loose ends and macguffins rather than to the core mythological symbols and elements. In calling back, incomprehensibly, to the “Richard and Linda” riddle, to the telephone-pole number, and to the thoroughly enigmatic Chalfonts/Tremonds, the finale insinuates that the course the new series has charted through its own addled lore and fragmented iconography has likely been a meaningless wild goose chase.

Cannibalizing the first episode of The Return as heavily as episode 17 did FWWM and the pilot, the finale shows Cooper exiting the spatially and temporally ambiguous maze of the Black Lodge, a place that opens onto a number of possible worlds. He finds Diane waiting for him, but then again, the universe he inhabits seems to generate for him the figures and signs he already anticipates. In scene after scene, he fulfills the romantic and epistemological desires with which we associate the character, but these conquests are deeply strange and unsettling, none moreso than his reunion  with “Diane.” Their sex scene is disturbing on multiple levels: the double that appears in the parking lot might suggest that Cooper is being misled or betrayed by Diane, were it not for the fact that Cooper’s stiff manner and his uncharacteristically demanding sexuality also indicate the presence of the malevolent Mr. C. Both interpretations are supported when Diane covers Cooper’s face; although the scene does not appear like a rape, the emotional ambiguity recalls a prior trauma. If the previous episode asks whether the power of the audience’s desire could heal past wounds, then this final, unpleasant consummation of the long-imagined Cooper-Diane relationship answers that it may in fact reopen and aggravate them instead.

The weight of the past also bears directly on the scene through the pairing of Kyle MacLachlan and Laura Dern, who first played chaste sweethearts in Blue Velvet thirty years prior. MacLachlan’s served for a time as Lynch’s favorite avatar; Dern remained a muse throughout his career. The coupling, a major set-piece of the finale, is an ultimate act of wish-fulfillment for both audience and director, reconciling the violence of the authorial intervention and the restorative, constructive desire of the audience. Like many other scenes in Twin Peaks: The Return, the sex scene is both cleverly metatextual and uncomfortably self-indulgent, a “reunion”  that serves as a kind of authorial signature, consolidating the series definitively within Lynch’s oeuvre. But as a fantasy pairing, the scene also “gives the viewers what they want” as both the ultimate realization of the audience’s desire for Cooper as both sexual subject and object and as the long-awaited, formulaic TV construction of the central couple would be especially familiar to soap-opera viewers.  For a few moments, the scene promises a convergence of the viewer’s desire with the author’s: “two birds, one stone.”

The ideal couple of the series, however, isn’t really Cooper and Diane; after all, as the log lady reminded us, “Laura is the one.” The finale also brings them together, although Laura isn’t really Laura, and Dale may not really be Dale. It’s more that Dale wants to be Dale, and wants Laura to be Laura, and wants Sarah’s house to be Sarah’s house, much as we desire a resolution of the cosmic battle between good and evil that the penultimate episode promised. With a measure of directorial control of mood, pacing, blocking and performance that much of the season has shown only fitfully, Lynch unsentimentally dismantles each of these assumptions. In effect, the last scenes of the show function exactly the way the “Kevin Finnerty” episode of The Sopranos or the “International Assassination” episode of The Leftovers did, tunneling into its protagonists psyche and coming out on the other end of a different reality. As in these shows that cashed in on the creative license afforded by Twin Peaks, the finale of “Twin Peaks” leverages our investment in its characters to bend them wildly out of shape; it tears at the fabric of the show to expose exactly how desperate we are to maintain the integrity of its mythology as independent from the author function that surrounds it. Unlike those episodes, it’s not violence or injury that initiates this transportation, it’s sex, but then again, sex in Lynch is invariably touched with violence. He’s fucking with you: in this climax, as in the ends of Mulholland Drive and Inland Empire, the scaffolding upholding the textual and metatextual levels collapse, and what we are left with is an apprehension of the director’s power. And this is where the internet message-board canon legislators have it all wrong: Lynch's control over the world of Twin Peaks isn't measured in the internal coherence of an inscrutable mythology (that's probably more Mark Frost's bag). Rather, Lynch establishes authorship through his willingness to subvert, even to invalidate that mythology entirely.
 
This final sequence serves The Return both in the way the final episode and “Fire Walk With Me” as well served the original series: both as a form of authorial reclamation and as a way of posing a question which cannot be answered with the information given. Its final image, of Laura Palmer whispering a secret in a distressed Dale Cooper’s ear, totally encapsulates this simultaneous act of sharing and withholding. It’s a form of privation, but it also sets us to furious imagining. Both an insult and a tribute to the curiosity of its viewers, it reminds us that, for both its viewers and its creator, “it’s all in our mind.”


This was fucking incredible and mind blowing that you had such coherent thoughts mere hours after watching he finale. Thanks so much for this.
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Postby Viola Swamp » Sat Sep 16, 2017 3:26 pm

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Postby Feech La Manna » Sat Sep 16, 2017 3:50 pm

hell yeah I knew emiko was a lynch head
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Postby kid_chameleon » Sat Sep 16, 2017 4:05 pm

you guys realize how much shit happened in this show? Like..so much shit happened all the time.
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Postby kid_chameleon » Sat Sep 16, 2017 4:05 pm

you guys realize how much shit happened in this show? Like..so much shit happened all the time.
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Postby spix et chicho » Sat Sep 16, 2017 4:15 pm

remembered the scene of Jerry's talking foot the other night
CIARA IS DEFIANTLY A MAN AND ITS DISGUSTING MY CUZIN WAS THROWING UP FOR 2 WEEKSM YUUUUUUUUCCCCCCCCCCCCCCCKKKKKKKKKKK PLEASE SIGN THIS B/C THATS JSUT HERENDOUZ
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Postby Feech La Manna » Sat Sep 16, 2017 4:16 pm

kid_chameleon wrote:you guys realize how much shit happened in this show? Like..so much shit happened all the time.


Yeah when I rewatched this before the finale I realized how insanely dense every single episode of this show is
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