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Frankenhooker

Twin Peaks.

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If Cooper was a figment of Richard's imagination then (sadly) The Fireman, Laura, the badge, the gun and eben his ninja skills and Norma and the RR are also imagined.

 

I found the whole Audrey storyline very frustrating; loved it though when she finally danced to Badalamenti's Freshly Squeezed last week at the Roadhouse, but then she "woke up" and appeared to be in a coma ?

 

I had wondered whather she'd also been raped and left comatose by BOB, giving birth to the odious prick Richard (coincidence ?) Horne. The lack of resolution to Audrey's thread I find especially frustrating.

 

I'd assumed that Richard had something to do with Richard Horne, and I agree about the Audrey theory.

 

After Cooper/Richard wakes up into his 'reality' he is still able to take out the 3 cowboys and it's after that when the final scene happens including the scream.

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One other scene really resonated : the whole death of BOB in Twin Peaks sherriff station. You must have noticed that throughout that whole scene, for about 5 minutes all the action took place whilst Cooper's whole face was superimposed over the footage ? Why ? I wondered at the time whether this was because all of this was taking place inside of Cooper's head.

 

Perhaps the later Richard / Linda motel scene goes to show that it's Richard who's the real mundane person and that it's Cooper who's the fantastic doppelganger leading an imaginary life ?

 

Personally I would hate this to be true. It would mean that the whole story of Twin Peaks and "Who Killed Laura" was a daydream conjured in the mind of a cold, loveless, ordinary Richard.

 

It was Laura's dream and it was her regaining consciousness from the dream was the reason Cooper's face was superimposed for that scene.

 

The motel scene was just a different reality. The moment when Diane see's herself very briefly while still in the car waiting for Cooper to get the keys emphasised this as it was 2 realities merging with each other.

 

My take on everything overall was that Judy was master creator and didn't allow Cooper (or anyone else) to essentially save the day in any reality or parallel universe.

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I loved it, all of it. The finale and a whole number of interpretations have been going through my head all day. After the final scene I felt the same as I did at the end of King's Dark Tower books, with a sense that the fight between good and evil is never ending. I have much more to say but that's the crux of it (and I'm off to play board games now).

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The motel scene was just a different reality. The moment when Diane see's herself very briefly while still in the car waiting for Cooper to get the keys emphasised this as it was 2 realities merging with each other.

 

This I can dig.

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I feel a bit better after a day of theorising but I still feel fucked off by the ending

 

 

Sent from my iPhone using Tapatalk

 

I watched the last episode again and noticed some interesting things that I didn't really spot the first time as I was so engrossed in getting to the conclusion.

 

Was interesting to see Cooper and Diane both asking each other 'is that really you' after Cooper left the lodge as everything had changed with Laura being alive/saved.

 

The car Cooper was driving was an classic old car. There were rips to the back seat with a huge steering wheel. Did this signify a different moment in time in the past? 

 

Even that it was the Cooper and Diane after he passed through the different reality, they weren't the same Cooper or Diane as there was no interaction in the car after they passed through. Even the sex scene was weird as fuck, with no emotion from Cooper throughout. 

 

After Cooper left the hotel, it was a different hotel and then a different car completely to the one he drove there with.

 

Again, the Cooper in the Judy diner was like a mixture of good Cooper and his evil doppelganger. No reaction or emotion after drinking the coffee. the way he spoke to the waitress and dealt with the 3 dickheads harrassing the waitress.

 

Who was Tremond repeating the questions that Cooper was asking her questions to? 

 

Judy was obviously Sarah Palmer.

 

More questions than answers and what Lynch definitely wanted instead of a satisfying conclusion and closure that everyone else wanted.

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I watched the last episode again and noticed some interesting things that I didn't really spot the first time as I was so engrossed in getting to the conclusion.

 

Was interesting to see Cooper and Diane both asking each other 'is that really you' after Cooper left the lodge as everything had changed with Laura being alive/saved.

 

The car Cooper was driving was an classic old car. There were rips to the back seat with a huge steering wheel. Did this signify a different moment in time in the past? 

 

Even that it was the Cooper and Diane after he passed through the different reality, they weren't the same Cooper or Diane as there was no interaction in the car after they passed through. Even the sex scene was weird as fuck, with no emotion from Cooper throughout. 

 

After Cooper left the hotel, it was a different hotel and then a different car completely to the one he drove there with.

 

Again, the Cooper in the Judy diner was like a mixture of good Cooper and his evil doppelganger. No reaction or emotion after drinking the coffee. the way he spoke to the waitress and dealt with the 3 dickheads harrassing the waitress.

 

Who was Tremond repeating the questions that Cooper was asking her questions to? 

 

Judy was obviously Sarah Palmer.

 

More questions than answers and what Lynch definitely wanted instead of a satisfying conclusion and closure that everyone else wanted.

 

I noticed the old car at the time - were they going back in time to prevent something happening?

 

The Tremond thing reminded me of when Sarah wouldn't let Hawk into the house. 

 

I don't understand Sarah Palmer at all. That stuff a few weeks ago in the store: 'men are coming'. What was that about? 

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This is interesting to watch. Not sure I buy into it being intentional but some scenes do certainly seem to compliment each other, particularly towards the end:

 

https://www.youtube.com/watch?v=ryVJPCs67WM

 

 

Oh it's been taken down already. I think it originated from reddit but someone made a video of the final two episodes played simultaneously with the theory that they sync up in certain places to create meaning. I don't think there's much in it beyond Lynch's style and episode arcs being naturally similar, but certainly in the last 5-10 minutes, when the black and white scenes from FWWM and Coop leading away Laura and Judy/Sarah stabbing at the photo are played alongside Cooper and "Carrie" travelling to the house and the scenes from the pilot, it fits together very well.

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I'm watching The Return again, starting tonight. Looking forward to it, I enjoyed it a lot. I particularly enjoyed the more Lynch stuff - so the first 4 episodes, ep 8 and the last two. I find some of the obvious Mark Frost storytelling a bit... dunno, twee maybe. All the supernatural/aliens stuff in the first series and the book. Hmmm. 

 

I watched the extended fan edit of Fire Walk With Me the other night. Still 3 hours and 18 minutes of greatness. It's a shame there wasn't more Ray Wise in the Return because he's fucking great in the film. "WHERE'S MY AXE?!!"

 

Someone above mentioned parts of the Return were more like Lynch's Lost Highway  and Mulholland Drive. Funny, I've always thought of them two and FWWM as a kind of loosely-related trilogy. They're all about people who start off living a perfect life, but then something occurs and they lose all sense of themselves, start having supernatural/strange occurrences, with a dichotomy of their old character being opposite to the new one.

 

- Think of Betty in MH - bright eyed and living the dream in the first half, but when she "wakes up" it turns out she's a bit of a loser living in a crappy flat.

- Laura Palmer seems to live the perfect life with the perfect school/family/friends - but in reality she's a drug addict prossie in a downward spiral. - And in LH - well, it's a bit harder to know what's going on in LH haha, but Bill Pullman has a beautiful wife and house and is a relatively successful musician, but then he starts getting weird videos, his wife doesn't actually like him and then is killed and he ends up in prison - then he transforms (i think anyway) into Balthazar Getty who is younger, better looking and catches the eye of his wife (in that great scene in the garage with the Lou Reed song). It's probably my favourite Lynch film even though i barely know what it's about. 

 

Just on Balthazar Getty - it was a shame we didn't get to see more of his character Red in The Return. Was he some kind of supernatural being, or a magician, or what?? Typical Lynch though - show a bit and let the audience figure out the rest/fill in the blanks. For better and worse. 

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Watched The Return parts 1 and 2 last night. I think it's a 2 hour masterpiece. It defintely helps if you're au fait with FWWM. I can see why some of the fans who were into the original show with its soft and warm tones felt the new show was jarring - it's obviously much more modern - it looks so much sharper and hi def. Both episodes are so much like Mulholland Drive and Lost Highway - and as weird as it is there are Twin Peaks fans who aren't David Lynch fans, which seems strange to me. The stuff I loved:

 

- the opening, with it's callbacks to the original (the high school corridor, laura and dale in the lodge, the packard saw mill lying empty).

 

- Ben and Jerry - only a small scene but it was a funny one, Jerry always cracked me up. He'll always be Sully from Commando to me though. ("I like you Sully - that's why i'm going to kill you last.") And Ashley Judd as Berverley looked great.

 

-  The sound is amazing. I played it through my Bose speaker and there is a constant foreboding which really adds to the menace on screen. Especially...

 

- The glass box. Even the shot outside of the New York skyline (which looks amazing) and the brick building felt sinister. The constant lingering on the cameras and the box has you anticipating something is going to happen. And when the box starts changing and that figure appears and kills the two young people getting it on. Classic build up of tension and release through horror. That girl Tracey had great tits too. Shame she died. I loved the offbeat way they talked to each other, and the randomness of the guard (and how he vanishes). Classic Lynch.

 

- The Arm. What the fuck. I've read that Lynch had a run-in with the fella who played the dwarf, so he got the bullet. But to have his character turn up as a tree, what a kick in the balls. Still, funny stuff and quite scary when it's attacking Cooper and shouting NON-EXIST-ENCE!!

 

- Buckhorn - I loved all of this. It was so Blue Velvet/Mulholland Drive with random, infuriating characters (the neighbour with the key etc). Thought Mathew Lillard played his scenes brilliantly as the headteacher, especially the one in the poilce interrogation. I never understood something about his wife though - bad Cooper kills her and says something about her imitating humans (or something) and when he shoots her the screen glitches. I don't think that's ever explained (stick it on the Unexplained Tab).

 

- The Woodsman in the jail. How weird was that.

 

- The Log Lady. Even to a cold hearted c*** like me, seeing Catherine Coulson and knowing she was close to dying is moving. It's nice that she had the opportunity to give her role another go. I'm not sure but i don't think she was alive long enough to see the final cut?

 

- Sarah Palmer sitting in the Palmer house, watching lions killing and ripping apart some other animal. Very weird. And good.

 

- The Roadhouse - it was defintely a shock first time - surely every episode won't finish with a musical performance? Well, yes it will! But this is one of the best - getting to see shelley and james again. A good atmospheric scene, and a fuck you to the james haters by shelley haha - "James is cool. James was always cool." Erm no, but anyway. Really good song by the Chromatics as well and a great way to wrap up 27 years of waiting. 

 

 

I was thinking back to last year when i first watched it - it was surreal seeing brand new Twin Peaks after all those years. I'm glad watching it back now that it's as good as I thought it was at the time. 

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I thought it was ace apart from that episode with the nuke going off and all the weirdness...freaked me out a little

I watched that live and was amazed, possibly the greatest ever hour of television. Incredible.

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I watched that live and was amazed, possibly the greatest ever hour of television. Incredible.

I watched the original high as a kite when it first came out... very happy I no longer do that sort of thing as that episode would have freaked my nut out to this day to quote the learned Mr Dyer

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I'm now on episode 7. It definitely gets into a nice groove after the insane first three episodes.

 

Wish we'd seen more of Balthazar Getty as Red the supernatural drugs baron. Wonder what the deal was with him. We'll probably never know.

 

Also, how remarkable does Shelley/Madchen Amick still look.

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 I must say, watching it over a 4 day period it's been even better than I thought it was on my original watch - 

 

- time doesn't nearly seem as big an issue - because you're watching it condensed things that might have seemed out of place a week or two apart now seem pretty straightforward only hours apart. You can definitely see the "18 hour movie" come out. 

 

- Cooper isn't Dougie for nearly as long as he was on the "long" run. I was (almost) surprised how quickly Dougie came to an end! 

 

- knowing Cooper would be Dougie for so long made it much more bearable. I actually ended up liking him. It's quite sad when Cooper has to say goodbye to his "family"

 


- Norma and Big Ed! Man, amazing. From Nadine marching up the road with her golden shovel and laying it all on the line for Ed (I wish we'd had more Nadine, she plays her part so well), through to Ed's crushing disappointment ("cyanide pill"), Walter's rejection, and finally Norma's hands appearing on Ed's shoulders. I'm pretty cold hearted most of the time, but even i was close to tears along with Shelly.  

 

The whole scene is so well put together - the music, the editing, the locations. Even the drawn out end of the piece with the music climaxing and the view of the blue sky and the sun shining. The Otis Reading song worked even better as a live version with audience applause. Lynch really nailed the music and song choices for the whole series. 

 

Man - I loved the Return, but this scene more than any really was a punch-the-air moment, 27 years in waiting!

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