Drink full: The TWIN PEAKS 2017 spoiler thread, part 2

i guess the reason the syncing seems more plausible in twin peaks is because of the series' themes of overlaps, parallel dimensions and planes, different personalities emanating from the same characters, doppelgangers, a map of the show that is literally an infinity symbol, the reusing of certain footage in different episodes, the repeated use of meta-references (like cooper trying and failing to exit out of the white lodge through a socket labeled 3 in part 3, only to be pushed to use socket 15 and finally transforming from dougie to coop in part 15, along with some other symmetrical features that i've already forgotten about. i'm just saying, with all of that in mind, it doesn't seem far-fetched that lynch would edit two scenes in a way that references each other. it's a little bit different than air bud making a great pass at the same moment that two instruments in an epic Sunn O))) musical passage "pass off" a riff between two instruments or whatever. the doubling/syncing thing is embedded into the entire twin peaks experience in the first place

I hear if you watch The Return and The Wizard of Oz at the same time, every "Who's Judy?" lines up with Judy Garland appearing in a scene

(like cooper trying and failing to exit out of the white lodge through a socket labeled 3 in part 3, only to be pushed to use socket 15 and finally transforming from dougie to coop in part 15

see now this is the kind of minor detail that I didn't notice that is interesting to see cited. I don't think it literally means all that much in the larger context of the show but it's a funny meta detail.

there's lots more compelling stuff in that super long medium post - it's worth considering, even if the episodes aren't literally meant to be played simultaneously. I think you can just take it as the events in the episodes sync up, which many ppl itt and elsewhere have already noticed.

I feel like my mind is constantly, intuitively making crazy connections to other parts of twin peaks and other works of art while I'm watching but this sort of thing does nothing for me. It's like counting the number of vowels in Ulysses and checking if it's divisible by the number of consonants in the waste land.

haha yeah there's something to forced about it, mechanical

too forced

I wrote a piece about the structure of The Return being like the internet. Hyperlinked, too many connections. It fits in with the horror being obviously digital effects. They are kinda caught in the net, the same way FWWM seemed to be about people caught in a tv show.

Did you sync the show up to a gif

It's like counting the number of vowels in Ulysses and checking if it's divisible by the number of consonants in the waste land.

Maybe, if the subtitle of Ulysses was "An Eliot Divided", there was a chapter where Stephen Dedalus unlocks a mysterious door by solving a riddles involving the number of crossed t's in a famous poem, and Joyce peppered the rest of the book with references to inter-literary counting puzzles.

Twin Peaks, and Lynch's oeuvre as a whole, is STEEPED in this kind of stuff, symbols, secrets, and self-referential connections. I can see not wanting to engage in it yourself, but it's weird to me to frown upon others doing it.

i like the owl ring

Are they selling Truck You shirts?

@shakey & wins
the show invites this kind of speculation and interpretation. there are obviously clues & things to piece together - I don't understand how Cooper going for the 3 socket but getting thru the 15 detail is somehow more legitimate than noting the parallel structures of 17 & 18. fine if you're not into it, but to draw arbitrary lines around what is what isn't "interesting" is silly. I don't get being so dismissive of others' theories/discoveries/observations.

Feel like the Crowley sex magik stuff may be an instance of Frost's and Lynch's interests diverging as the show made the transition from page to screen. Because the sex as filmed does seems like it had an overt ritualistic function at some point, but as filmed it's more naturalistic (even Janet/Dougie) and keyed into the actors performances, more representative of where each character is at emotionally.

The sex as written and staged seems like it was meant to be ritualistic at one point, I mean.

https://www.newyorker.com/culture/richard-brody/david-lynchs-haunted-finale-of-twin-peaks-the-return

That's a good piece.

So I wrote near the top of this thread that I couldn't stand Rebekah Del Rio's No Stars when it came on in part 10, but I'm relistening to it on the official OST and oh my god it's fucking incredible.

xp holy shit yes (re RDR song)

Also - since "Just You" on the songtrack is the recording from S2 (http://www.vulture.com/2017/08/twin-peaks-the-return-james-marshall-interview.html) - it's actually Donna's / LFB's only appearance in The Return.

Would anyone be interesting in a poll of the roadhouse performances? They're just all so damn great

yes! definitely. i've been revisiting them in isolation & liking them a lot more.

it'll make me angry, so it is essential

The soundtrack album is great too, even if I'm compulsed to immediately hit skip once Shart Dressed Man comes on

*sharp, not shart lol

I think I will have an ear-to-ear grin every time I hear that song for the rest of my life tbrr

Btw the soundtracks are missing quite a few tracks on Spotify, eg no just you, no vedder

ty josh

LMAO @ Shart Dressed Man

more like zz plop

shitty gibbons

np kurt. I actually like the song and i think it sounded great in the show, it's just a very awkward fit against the likes of no stars, lark, mississippi, etc.

anyhow here it is the Twin Peaks: The Return roadhouse performances poll

i'm gonna be honest, i didn't get lucy's cell phone line either

i mean, i get that it was a callback to her confusion about cell phones earlier, i just didn't understand in the moment or now why she said that just then.

The New Yorker article is good but I can't help rme a tiny bit about the way that the final goal of every film critic writing about everything seems to be to somehow get to "you see IT'S A WESTERN"

The joke of the cell phones line is that she had just taken the call from Cooper on his way to the station while Cooper was in the office - because Lucy is unusual, this actually clarified her understanding of communication and space and whatever instead of causing extra confusion as it would for anyone else

It's a smart inversion of the classic lynch uncanny mystery man I'm at your house freakout, also just great for there being 13 episodes between setup and punchline

OK now I see, I literally hadn't remembered that there was a cell phone call from Cooper to the sheriff's office earlier in the episode

No no, good Coop was on cell while bad Coop was in the room, to Lucy this made perfect sense whereas the Sherriff being on cell as he walked into the building in ep 4 blew her mind.

Isn't that what I just said?

one reading (here?) is that she was an innocent who didn't understand technology until she fired a gun and killed someone and is now like the rest, ruined by technology and violence.

sorry wins, something short-circuited in my brain there, disregard please

Did anyone link the theory on waggish.org yet? I like that one despite a few paragraphs that suggested the author misunderstood the characters.

discussed at length upthread

I can't get over/unsee

http://store.sho.com/imgcache/product/resized/001/451/022/catl/twin-peaks-the-dougie-t-shirt-174_1000.jpg?k=dafaaf2e&pid=1451022&s=catl&sn=showtime

I sometimes think of Coop as patripassian now

https://pbs.twimg.com/media/DJM5zaCXYAAkJei.jpg:large

I wrote a piece about the structure of The Return being like the internet. Hyperlinked, too many connections. It fits in with the horror being obviously digital effects. They are kinda caught in the net, the same way FWWM seemed to be about people caught in a tv show.

― Frederik B, Friday, September 8, 2017 9:26 PM (yesterday) Bookmark Flag Post Permalink

Frederik, my Danish is a bit rusty, but is this online somewhere? Would like to read it.

Rescreening S2 for as long as I can stomach it, there's a scene in S2E3 with Shelly in the Twin Peaks Sheriffs Office talking about taking Leo home from the hospital when he's healthy enough (as per Bobby's prompting).

About halfway through her plea to Truman, Cooper interrupts to quickly dismiss her and show her the door.

Truman is aghast, and asks Cooper why and Cooper replies "Insurance money".

Echoed again in Dougie's terse "He's lying" in S3?

Could someone repost the Mulholland Drive Winkies Hot Dog gif, please?

For those who read French there's an excellent piece in this weekend's "Libération" newspaper with additional thoughts from Bertrand Bonello and others.

Karl et al: I take the point & will try not to pour cold water over any crackpot speculations :-)