setsuled: (Frog Leaf)


Two new Twin Peaks soundtracks came out on Friday, one featuring mainly instrumentals and the other focusing on songs with vocals, mostly songs that were performed in the memorable Roadhouse scenes often featured at the ends of episodes. I didn't need to see many episodes to know that Twin Peaks: The Return was going to have one the most amazing soundtracks on TV in decades. I've listened to the original Twin Peaks soundtracks many times over the past twenty five years so I was predisposed to like new work from Angelo Badalamenti but, as many remarked, there was surprisingly little new music to be heard from Badalamenti on the new series. Given how many of the stars of the show are dead or retired I wonder if Badalementi is okay. I see, before Twin Peaks: The Return, he hadn't composed a score since 2015 and that had been two years from his previous score. On the other hand, David Lynch himself has gotten more and more active in composing his own music for his projects. I guess he can add that credit to directing, sound design, acting, and set design.

I was surprised the score actually included the David Lynch remix of Muddy Magnolias' "American Woman". It sounded on the show like all Lynch did was slow the song down. If you're wondering what the original sounds like, you can hear it here. It does turn out Lynch's remix is a bit more than a slowed down version, I can hear some guitar, among other things, laid over it. But it's amazing how something as simple as slowing it down so profoundly changed it. The original song isn't so bad, it's a sort of pep talk song, for the listener to derive some motivation. It was featured on the soundtrack to the infamous 2016 Ghostbusters reboot and I wonder if that's where David Lynch heard it. His remix is certainly scarier than anything in that movie.

Mainly what his remix does, I would say, is to change the point of view of the song. These are the first part of the lyrics:

Bring the bacon and I'll put it in the pan
Got my own, baby, life is grand
Every move I make is just a part of my plan
And I do it just because you said I can't

Do I look like
The step-and-fetch type?
I'm a whole lotta grown-ass American woman
Do I look like
The walk-all-over-me type?
I'm a whole lotta strong-ass American woman

I know my worth and who I am
Mister if you're hard up, I can spare a few grand
Hell will freeze over and I'll be damned
'Fore I take orders from any ol' man


This is about as much as you get to hear on the show, maybe a little more, and it's difficult to make out the words in the slowed down version. Lynch has taken a song with a fierce, rallying quality and made it alien. The singer is a woman named Jessy Wilson--slowing her down makes her sound male, fitting for Mr. C's theme but more than that it has something of the effect of the backwards talk in the extradimensional realms. The words that, in the original, seem like such an affirmation seem to be mocked by the tone of the remix even as their sentiments are shared--the words express a ruthlessness; "Got my own, baby, life is grand/Every move I make is just a part of my plan/And I do it just because you said I can't." Liberation is great when its yours, it can be scary when it's someone else's, particularly someone boasting about their power.

I was disappointed the instrumental soundtrack didn't include all of the dinner piano music from the end of episode 11, Dougie's meal with the Mitchum brothers. It has a piece called "Heartbreak" which is the more sombre bits of the music heard in the episode but lacks the feistier parts. Welcome to Twin Peaks quotes Lynch as requesting from Badalamenti: "I need some Italian restaurant music. Gimme three songs: one of them should be kinda peppy, one of them should be slow and sad and heartbreaking." The "Heartbreaking" part is good but it's so much more intriguing couched in the peppy parts. That dinner scene was one of my favourites of the series, by the way. Like the other scenes with Candie, the emotional undertones to this scene seem treacherous in ways that never quite erupt. There are a bunch of potential threads for a further season of Twin Peaks or a spin-off but top of my list would definitely be the Mitchum Brothers.

The Music from disk includes the Paris Sisters' "I Love How You Love Me" which reminds me how open the Becky/Steven/Gersten plot still was. I honestly expected Lynch to do more with Amanda Seyfried's character though she basically played the Laura Palmer character on Veronica Mars. So maybe it felt like territory she'd already covered.

Twitter Sonnet #1032

A copper vortex holds a salty proof.
Undoubted eyes forgive the breakfast gong.
In hazy thoughts the video's aloof.
In proven shoes the fact'ry can't be wrong.
Antennae lace remains alone at large.
Attended last the vision hit the board.
The silk on this canal came from the barge.
Without a crew the ship has just a hoard.
A blade was dulled beneath the warping deck.
The stars became as flakes that sink adrift.
In careful lines the car reversed its trek.
The newer shoes could not provide the lift.
Retrieved from vinyl fingers songs "Begin".
"Beguine" became the trees and air again.
setsuled: (Skull Tree)


One of the reasons Twin Peaks: The Return kept me glued to the screen is David Lynch's seeming ability to read my expectations and then exploit them to provide a striking experience. It's like he could read my mind and knew just how to pull the rug out from under me. So here's a list of ten times Twin Peaks: The Return went off the rails in a really wonderful, frightening, or funny way.



Chantal and Hutch

Casting Jennifer Jason Lee and Tim Roth as the two ultimate assassins hired by Mr. C to take out sleep walking Agent Cooper already sets them up as significant players. Their meandering conversations about Mormons and philosophising somehow implies they're even deadlier--in standard storytelling parlance it's this kind of thing that usually indicates someone is a particularly formidable killer. It's the main reason the two feel like they come out of a Quentin Tarantino movie, aside from the fact that both actors were in The Hateful 8. So when they meet their end at the hands of some random accountant with anger issues, it's kind of a shock even as it's perfectly in keeping with their story. They who live by the non-sequitor may die by the non-sequitor.



Billy

The unseen Billy was teased all season, not just by Audrey Horne but by a man looking for him in the RR and by some of the girls in the recurring vignettes of characters in the roadhouse booths who were never seen again. When one girl talks about Billy having a relationship with her mother her friend asks for her mother's name and Lynch intentionally holds the moment, knowing we're expecting her to say "Audrey". When she says "Tina" instead we start to sense the story about frustrated, diverted connexions perhaps infecting the community on some massive subconscious level.



Cops

The three cops investigating Dougie Jones aren't exactly incompetent and they're not exactly masters but their oddness causes us to expect one or the other. From their first scene in Dougie's office they show a capacity to arrest the viewer when one of them, who hadn't spoken for the whole scene, emits his strange, high pitched laugh for the first time. And then it turns out there's nothing really extraordinary about them aside from their very credible, extraordinarily normal weirdness.



The Turnip Joke

Who would have thought Gordon having some foreplay with a mysterious French beauty was a setup just for him to tell a hilariously dumb joke about turnip farming to Albert? But it's Albert's reaction that clenches this scene's play on expectations--somehow his complete lack of response, his completely blank expression, is both odd and yet, characteristic of Albert, impossibly down to earth.



Candie

From the early scene where she hunts an elusive fly Candie establishes herself as the fly in the ointment of otherwise smooth sailing. Right up to her final line about preparing so many sandwiches, Candie had a bizarre knack for making everyone stop and wonder just what the hell is really going on. From her over enthusiastic agreement with Cooper that the Mitchums have "hearts of gold" to her intense contemplation of traffic on the Strip, Candie was like a canary in the coal mine of reality, alerting us to some hidden danger that even now remains obscure.



Dougie Jones, coiled cobra

Another reason a showdown with Chantal and Hutch had such a buildup was because of the unexpected revelation that even sleep-walking Cooper could instantly marshal his legendary reflexes and coordination. The gentle, cow-like, grazing man suddenly sprang to life when Ike the Spike threatened him and Janey E. An appearance by the Arm cemented the strangeness of the lighting fury in the scene.



The Sound at the Great Northern

By the end of the series this sound seems to be related to a portal in the Great Northern's boiler room yet we also hear a similar sound when Cooper wakes in the hospital. But for most of the season it was a background noise to Ben and Beverly's sinister flirtations. So while the sound drew our minds to one mystery it really served as a way to inject a strange energy into the chemistry between the married Beverly and her boss. Were the two phenomena related? Given the way the supernatural is intimately connected to personal relationships, I'd say probably. But it's the uncertainty that keeps our attention.



The Walking Woodsman

We see him in the morgue, walking, unnoticed by Cynthia Knox who's busy talking on the phone about Major Briggs' body. The Woodsman just keeps getting closer and closer and finally . . . continues down the hall, not even breaking stride. Somehow this is more disturbing than him actually doing anything, the sight of his walking and the ominous sounds perfectly playing off the grisly mystery involving the body.



Janey E, Negotiator

Dougie's got a bad gambling debt so when Janey E confronts the lone sharks the history of such stories have taught us this can't go well for her or Dougie. But somehow she seems to get her and Dougie out of it by sheer willpower and the ferocity of Naomi Watts' performance. And we never see these schlubs again.



"This is the water . . ."

My list isn't in any particular order but this one is probably my favourite. Why is that chant uttered by the Woodsman on that fateful night so effective? The words he chooses and his tone are a crucial part of it--"This is," he starts out like he's going to give us any radio call sign, "This is TPKR in Chicago and you're listening to--" or whatever. Then he takes it to something primal; "This is the water and this is the well." It reflects the sense of reassurance meant to be intrinsic in such radio announcements and the promise meant to be in there that you're going to hear something that nourishes you spiritually in some way, either with good music or maybe some entertaining talk. Some reassuring human sound, in other words. But by laying it bare in this way, saying this is life sustaining water in this place, the well, where you can reliably go back and get it, is incredibly sinister. The fact that we know such announcements are normally exaggerated and intended to seduce us implicates us as complicit. The mind is forced to loop back on its interpretation and accept this Woodsman's stripped down reality. That's how hypnosis works. It really is a spell.
setsuled: (Default)


With all the rejoicing across the internet to-day over the news that Corey Trevorrow is out as director of Star Wars: Episode IX there's naturally been a lot of speculation as to who'll take over the reins. I say; get Gordon Cole! That is, David Lynch. He was, after all, George Lucas' first choice to direct Return of the Jedi and if Lynch makes a pile of money off Star Wars maybe there's a better chance we'll see another season of Twin Peaks. Well, I can dream.

Rumour has it the current front runner is Rian Johnson and even not having seen Last Jedi I wouldn't mind that choice at all just on the strength of having seen Looper and Brick.

In any case, we've dodged a big, dumb bullet, as everyone knows whose seen that garbage heap called Jurassic World. And with everything going wrong in the world to-day it's nice to know one incompetent blowhard has been removed from a position of authority.

Anyway, obviously my mind's still on Twin Peaks.

Spoilers for Twin Peaks after the screenshot.



I found myself thinking about Naido (Nae Yuuki) some more and I realised there was a very obvious question no-one, myself included, seems to have been asking--just what the hell was Mr. C (Kyle MacLachlan) looking for? What did he expect to find when he got to the right coordinates? Andy (Harry Goaz) said people were trying to kill Naido but didn't say why. This is another reason I don't think Naido was simply Diane (Laura Dern) in another form. If her name is really meant to be a reference to the naido, "inner path", concept in Buddhism, it would make sense if Mr. C, as a force of destruction, might be trying to kill this representative of an internal world. There's no reason he would be hunting Diane after having taken her to the convenience store himself. The death of Naido seemed like it would represent a much greater victory for Mr. C.

I feel like I might have a few more posts about Twin Peaks in me. I'm certainly going to be watching the third season again . . . and again . . .
setsuled: (Mouse Sailor)


Part of me wonders how I can go back to watching any other TV show after Twin Peaks, part of me feels like the brilliance of Twin Peaks has enhanced my viewing experience of everything else. As last night's finale brought home, it is a show about experience, about contemplation of the moment and the potentials that are inherent in every moment. Among many other things, the third, hopefully not final, season of Twin Peaks is the nexus of Hitchcock and Cocteau, where the essence of suspense meets the essence of surrealism in a beautifully, startlingly meaningful way.

Spoilers after the screenshot



It's relatively well known that Laura Palmer's murder in the original series was never meant to be solved, that Lynch and Frost were forced by the network to reveal the killer's identity. The virtue in this original plan became clear to me some years ago when I was watching the series with my sister and I realised how much more interesting every scene must have been for her when virtually any character could be the killer. Like Hitchcock's bomb under the table, there's the suspense of that hidden fact and it compels the viewer to evaluate everything about each of the many characters we meet, to wonder whether some aspect of their surface personality is a reflection or a distortion of some other reality hidden from us.



Like the second season finale, the third season finale brings us more troubling, unanswered questions in the end. Twin Peaks doesn't leave all questions unanswered and not all of the clues lead nowhere--if it did, we'd get used to it and stop being engaged. Andy's (Harry Goaz) mission given to him by the Fireman (Carel Struycken) is fulfilled in a satisfying way as is the destiny of Freddie (Jark Wardle), which seems to have been nothing less than punching out Bob (Frank Silva's picture inside a black ball). The Fireman and the head of Major Briggs (a photo of Don S. Davis) even seem to make sure Mr. C (Kyle MacLachlan) arrives at the sheriff's station after finally getting to the right coordinates, seemingly indicating how sure they were all the right pieces were falling into place. It was an exceptionally well executed conventional showdown plot with plenty of ingenuity and entertaining ideas. I love the fact that Lucy (Kimmy Robertson) shot Mr. C and that the two Coopers somehow finally made her understand cell phones. There's a mysterious logic at play in Lucy's brain--it's easy to say she and Andy are stupid but I think Lynch's point is that what they have is a kind of intelligence organised in a vastly different way from how most of us understand it.



But on the other hand, that's true of everyone. It's easy to demonstrate by looking, for example, at reviews of the Twin Peaks finale. In an otherwise very positive review by Emily L. Stephens of A.V. Club, she feels compelled to note:

Naido being reduced to a placeholder for Diane is another example of Lynch’s clumsy sidelining of non-white characters. In this case, she’s not even a character, but a symbol of a character.



Why does Stephens reach this conclusion? Because most of Lynch's characters are white? In a finale so full of ambiguities, why is Stephens so sure that Naido (Nae Yuuki) is only a symbol of another character? We can interpret it like Stephens but we can as easily interpret it many other ways. For example, how do we know Diane (Laura Dern) isn't a symbol for Naido?

Naido's name is almost "Diane" in reverse. It becomes "Odian" when spelled backwards. Maybe meaning "Oh, Diane" or possibly "Zero Diane". The Twin Peaks wiki also has this explanation:

In Japanese Buddhism, the term naidō (内道) literally translates to "Inner Path," simultaneously describing "inner teachings" or "[one] within the path" of nature and righteousness.

Is Naido really Diane, or is her assuming the form of Diane a response to Cooper's (Kyle MacLachlan) need?

Incidentally, I recently learned about the second kanji in naido, 道, which means "way". The box on the right represents a severed human head and the line on the left represents a road--it represents an incident in ancient times when a conquering army left the severed heads of their enemies all along the road on their way back to their castle. In could be a coincidence but we've sure seen plenty of severed heads along the path this season.



The seemingly straight forward action climax shifts at one point to having footage of Cooper's stunned face overlaid on the increasingly strange occurrences in Truman's (Robert Forster) office. Like Phillip Jeffries in Fire Walk with Me, the close up of Cooper's face says that we live inside a dream and, indeed, things start to seem more and more dreamlike, especially when Candie (Amy Shiels) and the two other girls working for the Mitchum brothers bring in baskets of snacks. It is a good thing they made so many sandwiches but when did they make them and how did they know so many people were going to be there? Cooper, Diane, and Gordon (David Lynch) going to the boiler room under the Great Northern feels even stranger.



In episode 18, it becomes even clearer that Lynch's aim is to present scenes that do have a meaning but which also require interpretation from the viewer. Information given to Cooper by the Fireman at the beginning of season three starts to come into play--Cooper had been told back then to look out for the number 430 and we see him and Diane drive 430 miles out from some unmentioned location. Then, after checking into a motel, they make love, after which Cooper finds a note that seems to indicate he and Diane have become the Richard and Linda mentioned by the Fireman way back. I love how Lynch's sex scenes aren't just extended ways of saying, "They had sex." Each one is a vital and distinctive part of the story. This one had some things in common with the sex scenes in Lost Highway and there's a sense that Cooper's identity is becoming strange to Diane in this moment of physical intimacy. Her hands seem compelled to cover his face and in the note the next morning "Linda" says that she no longer recognises the person "Richard" has become. Before this, Diane has a vision of herself outside the motel and all together it seems that travelling between worlds has once again required the travellers to inhabit other identities and stories.



But Cooper is still Cooper. It seems twenty five years in the Black Lodge have taught him some magic. But what is he doing? Still trying to save Laura Palmer (Sheryl Lee)? Is this the story of the little girl down the lane? Is it like Scottie in Vertigo, trying to make reality into a story about himself, a lawman, saving a beautiful woman from untimely death? The chivalrous knight is quick to protect the waitress (Francesca Eastwood) from three assholes in Judy's diner.



In the end, it seems to become a masterfully executed nightmare about a time travel story. Like the season two finale, everything seems to crash into enigmatic disaster. Jeez, I hope there's going to be a season four. I want to know what happens with Bobby and Shelly, what happened to Becky, what the deal is with Candie, I want to see more of Tammy Preston. In short, I want more. But I probably always will.

Twitter Sonnet #1030

Refreshing xylophone appraised the ice.
The party cooled beyond martini chill.
A name too far in sloth exchanged for rice.
A pie awaits upon the autumn sill.
The steam is pressed against the kettle's gut.
The melting air appears on ev'ry brow.
To screaming heat no window now can shut.
A boiling tide consumes the dipping bow.
Two birds ingest a single stone again.
The dream advanced behind the forward moon.
The only chance became a pyrrhic win.
An endless quest may also end too soon.
The absent eyes invite the seer home.
A skipping sound compels the dream to roam.
setsuled: (Skull Tree)


Things are really starting to coalesce on Twin Peaks--last night's episode set the stage for next week's finale with victories for both the forces of good and bad. At the same time questions were answered and other answers were teased with ominous implications. The show continues to be a discussion on the lifelong effects of trauma while also continuing to focus on the unpredictability and strangeness of life.

Spoilers after the screenshot



And it looks like we've seen the end of Hutch (Tim Roth) and Chantal (Jennifer Jason Lee). A couple of assassins whose scenes of drifting non-sequitor dialogue, maybe it was their destiny to be taken out by a random nuisance. It seems both a reflection of the fact that you can't plan for everything and that the secret forces of the universe might be helping Cooper (Kyle MacLachlan) at every turn.



As one of the FBI agents on the scene mentions, Dougie's home is located on a street called Lancelot Court. It occurred to me again how David Lynch and Mark Frost have seeded references to Arthurian legend throughout the series. If you remember, the entrance to the Black Lodge is located in Glastonbury Grove, the name excitedly noted by Cooper as being that of "the legendary burial place of King Arthur!" One could draw a lot of parallels--Cooper's backstory involved an affair with Caroline, the wife of his mentor, Wyndom Earle. It's not precisely Guinevere and Arthur, but it's close. Like Lancelot, who went mad and lived under another identity in exile, Cooper has spent this past season in exile from all who knew his real self, as a sleep walker going by the name Dougie Jones. Janey E (Naomi Watts) could be seen as an analogue of Elaine of Corbenic, thus perhaps explaining the "E" in her name.



The FBI agents that form Gordon Cole's (David Lynch) team tend to be people of extraordinary ability. As we saw last night, Cooper was immediately displaying his powers, somehow knowing immediately that Bushnell (Don Murray) was carrying a pistol and formulating plans and implementing them with incredible speed. I think this is also why Lynch tends to cast singers with a striking, otherworldly stage presence as agents--Chris Isaak, David Bowie, and Chrysta Bell. He casts real legends as legendary figures.



Cooper's parting with Janey E and Sonny Jim (Pierce Gagnon) was bittersweet and I felt bad for the two of them. But it's the gentlest incidence on the show of someone learning their lover is not who he or she appears to be.



Watching Twin Peaks next to Game of Thrones is an interesting contrast in how the two shows deal with the impact of trauma, especially rape. While Game of Thrones tends to show that the experience makes people nicer (Theon) or smarter (Sansa), Twin Peaks is more interested in how a violation of trust can destabilise a personality. We finally learn for sure that Richard (Eamon Farren) is the product of Mr. C (Kyle MacLachlan) having raped Audrey Horne (Sherilyn Fenn)--Mr. C and Richard together both embody aspects of Morgan Le Fay and Mordred.

Both Audrey and Diane (Laura Dern) are dealing with the effects of having their trust in Cooper violated, the violation made more severely disturbing by how good we know Cooper is. How much either one consciously knows about the doppelganger can be questioned--the badness in Diane's experience happens before the rape when she can tell something is wrong in Cooper's kiss. Like the identities Diane and Audrey had created through what they believed was the nature of their relationship with, and appearance from the perspective of, the other person, there's a disturbing disconnect between what is felt and what is known.



The lyrics to the song performed by Eddie Vedder in the episode could not have been more appropriate.

One liar's promise drained the blood from my heart
Came a message in the dark


. . .

I stare at my reflection to the bone
Blurred eyes look back at me


. . .

Fearful of dreams, there'll be no sleep tonight
Fine at dinner, dead by dessert
Victim or witness, we're gonna get hurt
A fragile existence with echoes of wrath
I can't stop the bleeding nor the tears from thine eye
There's another us around somewhere with much better lives




This is followed by "Audrey's Dance" and she gets up as if in a pantomime of her old identity but of course she's interrupted, once again by a pair of strangers having a problem in their relationship. And we could say this all goes back to the strange cockroach frog that crawled into the girl's mouth in episode eight.



The whole episode was brilliant but my favourite scene was Diane talking to Gordon, Albert (Miguel Ferrer), and Tammy (Chrysta Bell). That gun in her purse was a potent reminder of why Lynch was once so often compared to Hitchcock--it's hard to think of a better example of Hitchcock's "bomb under the table" philosophy of suspense. I was really worried she was going to shoot Gordon but, of course, two legendary knights were much quicker on the draw.
setsuled: (Default)


It's weird getting used to an absolutely transcendent experience in television every Sunday night, watching Twin Peaks. And it's always different--the newest episode, "There's Some Fear in Letting Go", I doubt left any fan of the old series with dry eyes.

Spoilers after the screenshot



In an extraordinary moment of life and art coalescing, actress Catherine Coulson, who died before filming on this season completed, performed the death scene of Margaret Lanterman. Seeing her looking so frail all season with her hair gone and tubes in her nose, it's hard not to feel the reality in her discussing death with Hawk (Michael Horse). As one of the most recognisable figures of what made Twin Peaks distinct from the beginning, it's appropriate for the death of the Log Lady to be given such attention . . . and the grief in that dim conference room where only a tearful Lucy (Kimmy Robertson) is fully illuminated is . . . well, there are no words to do it justice.



Margaret's not the only character death in the episode. In addition to the abrupt execution of Duncan Todd (Patrick Fischler) and his assistant, it also seems Steven (Caleb Landry Jones) commits suicide though we don't actually see him die.



I loved the way Alicia Witt played Gersten's reaction on the other side of the tree when she heard the gunshot. The way she claws at her hair it's clear she's immediately trying to scrub her mind of any understanding of what she's just heard. She looks up at the trees--we'd been getting point of view shots from Steven of the trees too and I really love how much this season makes the forest a character. There had always been talk about a darkness and a mystery present in the woods around Twin Peaks but since there had to be more limitations on exterior shots in the old series you didn't get to see the forest nearly as much. Now Lynch is using the woods every chance he gets. It's there for bad things and good, as when we see shots of trees and mountains after Ed (Everett McGill) and Norma (Peggy Lipton) embrace and kiss openly in the RR, finally free to be together.



Once again, we have a work of art being interpreted and provoking actions its creator could never have anticipated. This new season began with Dr. Jacobi receiving the shipment of shovels and painting them. Lynch invited us to contemplate them long before explaining how they were tied to Jacobi's political internet show. Who could have guessed Jacobi's exhortation that his viewers shovel out of the shit would motivate Nadine (Wendie Robie) to set Ed free?



Likewise, Bill Wilder never knew that giving Cecil B. DeMille a line about a character named "Gordon Cole" would inspire Lynch to use that name for a character and would also inspire Dougie Jones (Kyle MacLachlan) to be Dale Cooper again.



The new Twin Peaks can function as a public safety video, too. Don't run out into traffic and don't stick a fork in a power outlet. If you didn't know before you're certainly never going to forget now.



Maybe the most amazing segment, though, was Mr. C's (Kyle MacLachlan) encounter at the legendary convenience store. This segment tied the area above the convenience store, first mentioned by Mike (Al Strobel) in Cooper's original Red Room dream (or in the alternate pilot ending), with the old room with torn floral wallpaper Laura (Sheryl Lee) entered through the picture given to her by Mrs. Tremond. In Fire Walk with Me it seemed to connect to the Black Lodge but in a marvellously spooky sequence last night we saw Mr. C walk with a woodsman through the same doorway only to enter a long corridor of complete darkness which occasionally faded into ominously creaking trees.



He finally finds Phillip Jeffries--is he trapped in that ghostly motel? In any case, he's now a massive tea kettle voiced by Nathan Frizzell. My friend Caitlin pointed out to me that this tea kettle resembled one of the machines from the Fireman's home in episode 8.



Speaking of eight, Jeffries motel room is eight.



It's also the number on Freddie's (Jake Wardle) cell.



All these numbers on the show. I hope some mathematician fans are getting a kick out of them, I can't make heads or tails of them so far. Dougie seems to be associated with the number seven a lot. Does it mean something that James is in cell seven?



Poor James. His shy little greeting to Renee (Jessica Szohr) sure got out of control. But it puts Freddie in the same room with Naido (Nae Yuuki) so perhaps all this was arranged. Andy (Harry Goaz) said people are trying to kill her, now she's got the police station around her and a guy with super strength.



Finally, it was confirmed at last that Richard (Eamon Farren) is Audrey's (Sherilyn Fenn) son. This was followed by another strange scene between Audrey and Charlie (Clark Middleton) who is not, as I thought, a dwarf. The actor actually has a form of arthritis that inhibited his bone growth and he was apparently in Kill Bill vol 2 but I don't remember him at all. Anyway, the scene ends with Audrey trying to strangle him and after the way bits of their conversation have resembled things said in the Girls in Roadhouse Booths vignettes and we'd just seen Steven apparently feeling guilty about something, possibly for harming Becky in some way, I wonder if the idea is that actions tend to travel on spiritual currents out into a community. Or maybe through power lines.
setsuled: (Frog Leaf)


A very exciting new Twin Peaks last night answered a lot of questions and made a lot of connexions in a beautiful way. Things came to fruition that felt like they were carefully set up twenty five years ago and it was a delight to get lost in those trees.

Spoilers after the screenshot



One of the main reasons the new Twin Peaks feels like such a revelation is that it feels like David Lynch shot something drawn from his own experiences while even the best television nowadays tends to be impressions and clever reworkings of other works of fiction. When Andy (Harry Goaz)--who's great in this episode--vanishes from the other plane like a flickering lamp, it feels like Lynch's idea of someone or something actually vanishing rather than effects people sitting around wondering what would be a cool new version of something that's been done a million times before.



We're certainly benefiting from the creative control Lynch has on the show. It was nice to have those atmospheric shots of the woods leading up to the discovery of the eyeless woman, Naido (Nae Yuuki), who seems to have survived getting flung into the void after her encounter with Cooper (Kyle MacLachlan). One of the effective ways of making a monster scary is to give it injuries or impairments of some kind--there's something inherently frightening about vulnerability. Naido simultaneously provokes concern and fear--this episode seems to confirm that she's an agent for the forces of good, which seems to indicate she was not in on the plot to trick Cooper. Maybe she was trying to warn him with that strange, urgent, birdlike, unintelligible speech.



The unnamed drunk (Jay Aaseng), who might be the elusive Billy, also provokes alarm for the sight of his injuries. Imitating Naido in the cells, to the great irritation of the sleazy Chad (John Pirruccello), the two create a forest-like cacophony of monkeys and birds and I was reminded of Mike and Bobby (Dana Ashbrook) barking like dogs at the oddly vulnerable James (James Marshall) in those very same cells back in the pilot episode. Something about these cells turns people into animals.



And James features in the next scene where we see he's become a security guard at the Great Northern. We meet his co-worker from London, Freddie (Jake Wardle), and learn about the green glove bestowed upon him by the Fireman (Carel Struycken), who until now had been credited as simply ????????? in the new series.



The idea of him being a Fireman makes sense given the fact that he is in opposition to forces of the oft-referenced Fire. His job is to put out the fire. But as Hawk (Michael Horse) told us, Fire isn't necessarily bad. One of the fascinating things about this is that it undermines the idea that the Fireman is simply a force of good. The Arm, after all, had the "Fire Walk with Me" tattoo and seems to draw power by invoking this phrase. And we learn that the first sign of Freddie's new strength with his glove is when he accidentally hurts the "jobsworth" who resisted selling him the glove. Like the cops who don't believe the information from Dougie's fingerprints, this clerk in Freddie's story can't see beyond the common realities of his job to contemplate the possibility of the extraordinary.



Green seems to indicate power and danger. The glove is green, the ring is green, the formica table is green, Dougie wore an ugly green sport coat, and last night Diane (Laura Dern) was wearing green in a green chair.



Still a dragon, yet she seemed to be remarkably helpful. It seemed like Cooper in his life as Dougie was hopelessly cut off from all connexions to his former life and acquaintances, but now we know that Janey E is Diane's sister. The texted message to Diane about Las Vegas a few episodes back seems to indicate Diane knows all this already. Why has she held back and why doesn't she hesitate to divulge information now? A mysterious dame, this Diane.



I love the fact that Gordon (David Lynch) gets prophetic dreams from Monica Bellucci and I loved the flashback to Fire Walk with Me where David Bowie's lines make a lot more sense for the current story than they did in the context of that movie. Those who've seen the extended version of that scene in The Missing Pieces know the encounter ended with Jeffries anguished at realising he'd appeared in Gordon's office at the wrong date. It was nice Bowie ended up on this series in some capacity.



I would so love to see the TV show where David Lynch and David Bowie were FBI agents in the 70s. Though it's great just hearing Miguel Ferrer tell a story.



Finally, well, what can I say about Sarah Palmer (Grace Zabriskie)? She does the same face trick as Laura did earlier in the season but inside is not blinding white light but rather darkness and mismatched human features. Another demon merrily disrupting nature though I doubt anyone's crying for the douchebag whose throat Sarah bit out. What happened to her? Whatever it is, I've loved the slow, sinister build to it all season with shots of her questionable television viewing preferences.

Twitter Sonnet #1023

In sums derived behind the boat we ate.
In tinkling tests the wind described the shells.
Inside the leaves of eyes the tigers wait.
Abnormal notice came through normal bells.
The tin approached inside the radio.
The shaded dreams of armies washed ashore.
The screws and dials turned the audio.
A writhing worm was glowing through the floor.
The leaves became the seeds between the spines.
To hover over lakes of minds they go.
In every cleat the pitcher moves the mines.
The honey takes the diamond very slow.
The hill of ancient stamps presents a face.
Above, the hardened clouds become the ace.
setsuled: (Mouse Sailor)


Last night's new Twin Peaks showed the clear contrast between benevolent forces and cruel. It also contained the best arm wrestling scene I've seen in any movie or TV show and the best use of dandruff since North by Northwest.

Spoilers after the screenshot



Looks like a field of stars.

Cooper (Kyle MacLachlan) has become a master zen fool. He has lost all connexion to illusory human attachments, even identity, and allows the flow of existence to carry him. There's no guile when he becomes transfixed by the dandruff on Anthony's (Tom Sizemore) coat but it just happens to be the right thing to do. I wonder how much Mike (Al Strobel) and the Arm appreciate this new mode of existence for Cooper since Mike had told him he needed to "wake up". Maybe there'll be limits to Cooper's new powers.



There's something unsettling about his success with the Mitchum brothers. When they come into the Lucky Seven insurance building in that conga line the music sounds like a handful of screws dropped in an air duct. And Candie's (Amy Shiels) glee at giving gifts to Bushnell (Don Murray) seems manic. Sonny Jim (Pierce Gagnon) in his new jungle gym at night with a spotlight is almost frighteningly delirious.



A more markedly uncertain reality appears in Audrey Horne's (Sherilyn Fenn) second episode of the new season. We see her questioning her own motives and identity and her relationship with Charlie (Clark Middleton) has become less clear. Last week he seemed to be her husband, now I wonder if he's a psychiatrist who indulges Audrey when she slips into delusional narratives. Or maybe she's in a dream. It almost feels like Lynch and Frost didn't know what to do with Audrey in the new series and decided to use this uncertainty as a prompt. Well, it certainly works, in my opinion, and I'm intrigued. Her desperation at searching for a basic identity, lacking Cooper's contentment, is kind of heart breaking.



Mr. C (Kyle MacLachlan) shows how malevolence has greater, more logical efficiency than Dougie's brand. I thought the idea of an arm wrestling scene was silly at first but I was completely won over when C tortured the gang boss, Renzo (Derek Mears), not merely with physical pain but with a complete disruption of the rules of strength and dominance that define the world Renzo understands. Cooper's a master Jedi and C's a consummate Sith.



Cherry pie was discussed a lot again this week, both at Lucky 7 Insurance and at Twin Peaks where we have another nice scene at the RR. Becky (Amanda Seyfried) reveals she has a love for the famous pie as well, also revealing she hasn't seen Steven in two days. I'm no relationship expert but firing off several rounds into his girlfriend's door might have made him skittish.



Bobby (Dana Ashbrook) says they've just found something of his father's "to-day" which is either a continuity error or the police have recovered whatever treasure the capsule map was leading to. Lynch and Frost show a genius level attention to detail so it's hard to believe it's an error.



And poor Big Ed (Everett McGill), finally back and, while he seems to be doing better with Norma (Peggy Lipton) than Bobby is with Shelly (Madchen Amick), things are still remarkably unsure with Norma apparently being wooed by some cheesy corporate cutthroat (Grant Goodeve). Honestly, Ed, I wouldn't worry.
setsuled: (Mouse Sailor)


As much mileage as Lynch gets out of Peggy Lipton's very expressive face on the new Twin Peaks, plenty of ground was covered with Miguel Ferrer's lack of expression in last night's new episode. Not since Buster Keaton has a stone face been so well deployed for laughs. After last week's very eventful episode, last night returned to haunting atmosphere and perhaps even more haunting new questions.

Spoilers after the screenshot



One way you can tell this show is working is that people who were dying to see Audrey's (Sherilyn Fenn) return feel disappointed we didn't get more Candie this week instead. But Audrey's return is no disappointment--like everything else on the new series, it wastes no time on nostalgia and hits the ground running.



It's like a glimpse into a gutsy one act play. Apparently Audrey has married a guy named Charlie (Clark Middleton), a little person with a bald, pointed head. He looks like a missile in a waistcoat, his piles of paperwork combining with his appearance to give him a slightly Lewis Carroll quality.



It's apparently entirely a marriage of convenience about which Audrey's tired of making any pretence over, boldly telling him that she's fucking someone named Billy. There's some drama involving a truck being borrowed or stolen--could this be the same truck Richard hit the child with? Is Billy the farmer Andy was talking to?



I'm inclined to think Richard is Audrey's son. There are things that make me uncertain. Why did Sheriff Frank Truman (Robert Forster) go to Ben Horne (Richard Beymer) to report Richard's crime instead of Audrey if she's his mother? Ben laments Richard's lack of a father. Eamon Farren, who plays Richard Horne, was born in 1985, before the events of the original Twin Peaks series. He could be playing younger--is he the product of Audrey's night spent with Billy Zane's character, John Justice Wheeler, in the second season? Wheeler seemed like he might indeed be the sort to be absent from Richard's life.



I love how much Richard Beymer gets to chew on in his scenes as Ben Horne. Coupled with the assassination of a father by Tim Roth's character elsewhere in the episode, one could be led to believe that Lynch is arguing for the necessity of a paternal influence in a child's life, but one then needs to consider Ben Horne's not entirely scrupulous life despite apparently having really fond memories of his father.



Diane (Laura Dern) discovering the coordinates on Ruth Davenport's arm indeed leads to Twin Peaks as Albert (Miguel Ferrer) teased last week; it's no surprise that the little town is ground zero for the damage to, or portal in, the fabric in reality which Gordon (David Lynch) has apparently been investigating for decades with his Blue Rose task force. At the end of the episode, we're treated again to another vignette of young women talking in a roadhouse booth, joined briefly by Lynch regular Scott Coffey. The impression given is that the world of dysfunction, misdirected or doomed love, and dangerous hedonism is truly vast in the little town. Is it a sign that Twin Peaks is where the strange demons released by the atomic bomb are concentrated?



The scene where Tammy (Chrysta Bell) is brought into the Blue Rose fold finally explains just what the Blue Rose is and connects it to Project Blue Book, with which Major Briggs was involved. The scene is notably reminiscent of the Black Lodge with Diane entering by parting a red curtain and uttering the Man from Another Place's first line, "Let's Rock." Scenes of revelations and crucial choices often seem to be set in places where the set design seems to deliberately echo the Black Lodge--scenes in One Eyed Jacks in the original series come to mind as well as Laura and Donna's misadventure in the Pink Room in Fire Walk with Me.



One of the first scenes in the episode is a truly wonderful and scary moment with Sarah Palmer (Grace Zabriskie) at a liquor store. She's disturbed by the sight of beef jerky that's made from turkey. I had two theories about what this could mean--Laura, in Fire Walk with Me, called herself a "turkey in the corn" and last week we saw black corn on Hawk's (Michael Horse) map. There's also the possibility that it's a reference to Sarah's experience with possessing spirits. The turkey jerky is externally like the beef jerky but it's in essence a different thing. Then she leaves the store talking to herself in the third person. It's worth remembering that, before the new series, chronologically the last time we saw her, in the finale of the second season, Sarah was delivering a message to Major Briggs and she was speaking with another voice.



And what are we to make of Gordon's encounter with the vivacious French woman (Berenice Marlowe)? It was like a scene from Amarcord, it definitely was the most Fellini-ish I've seen Lynch. It added to the feeling that what the new Twin Peaks is is even bigger than being a great new David Lynch project--it feels like a resurrection of a kind of great filmmaking in France and Italy in the 60s and 70s--it's worth mentioning now that the great French New Wave actress Jeanne Moreau passed away yesterday. If you haven't seen any of her movies, remedy it. Jules et Jim is essential viewing.

This daughter of a turnip farmer on Twin Peaks seems to be posing for Gordon, it almost feels more like a moment where Lynch is dwelling on the collaborative relationship between a director and an actress in creating the impression of a beautiful woman on screen.
setsuled: (Skull Tree)


One of the episodes most satisfyingly reminiscent of the first two seasons, last night's Twin Peaks, "There's Fire Where You're Going", also continued Lynch's discussion of the relationship between violence and children. It also showed how the forces for good are slow, misdirected, and mysterious, sometimes tragically so. I saw the episode on Friday at a screening at Comic Con--David Lynch had requested that no-one in the audience discuss the episode on social media until after it had aired and I was certainly willing to take direction from him. All the same, I'm glad I can talk about it now.



I'd caught the panel for Twin Peaks in Hall H on Friday afternoon, despite knowing most of it would likely end up on YouTube anyway, which it has:





My favourite moment is in around 20:10 in the second video where Everett McGill talks about Lynch's "sharp edge" after everyone else had been talking about how warm and comfortable the experience of working with Lynch is.

There are a couple things not in the videos, though. The panel was moderated by Damon Lindelof, the creator of The Leftovers and co-creator of Lost. It's unusual to see someone like Lindelof moderate a panel, which in itself speaks to the nature of Twin Peaks' influence, but to make it even clearer, Lindelof began with a speech in which he listed off the variety of great television shows, mentioning The X-Files, True Detective, The Sopranos, and Stranger Things among others, that wouldn't exist without Twin Peaks, concluding by saying that Lost would most certainly not have existed if not for Twin Peaks.

After this, a video David Lynch recorded for the panel was shown. It looked like it was filmed at the same time as his promos for the Japanese station, Wowow, that's airing Twin Peaks in Japan--Lynch sitting, talking to the camera with a black background. But this was much longer than the Wowow promo with Lynch pretending to do multiple takes of his Comic Con message, each time getting interrupted by something absurd--a man off camera jumping out of the window, someone evidently riding into the room on a horse. It was a funny video in an anachronistically corny way but also slightly disturbing. I'm glad I saw it.



When I found out that there was going to be a screening that night at 10pm of episode 11, two days before it aired, I wasn't sure I wanted to go. Did seeing it two days early really matter and did I really want to see it in a crowded room with uncontrolled potential distractions? Not to mention I had left my apartment at 7:30am and leaving Comic Con at 11pm meant I wouldn't get home until at least 1am. But I finally decided I wanted the experience of seeing an episode of the new series with an audience of fans reacting to it for the first time. Apparently David Lynch thought the same thing because we were informed that he was watching us watching the show. I suppose there hasn't been a screening for the show since Cannes and this would be Lynch's chance to gauge the reaction of a completely different kind of audience.



The screening started a few minutes late because some "talent", we were informed, were unable to get into the building. It being so late, a lot of doors were evidently locked. But finally we were surprised to see walking into the room Kimmy Robertson, Everett McGill, James Marshall, and Don Murray who plays Bushnell Mullins on the new series, Dougie's boss. Before they arrived, I found myself in agreement with someone I overheard sitting behind me who said he hoped people would avoid too much cheering or applause during the episode. But as it turned out, I felt really good when the audience broke out into applause when Don Murray appeared on screen, doing little push-ups on his desk. It must have felt good for him to hear that.



None of the surprise guests spoke except a woman whose name I didn't catch who told us that she had just face timed with Lynch, informing us that Lynch could see us, and saying that Lynch had instructed her to recite a poem and asked those of us who could to speak it along with her. I wish I'd had more memory left on my camera by that point to get more than this brief clip:



She started it quickly but many people in the room did catch up and start saying it along with her.

I felt sort of worried that people were going to laugh at the wrong moments during the screening and I hoped people wouldn't respond in a way that would disappoint Lynch. The screening was held in Room 6A, one of the larger rooms upstairs and I sat through several panels before it. Any asshole could've walked in but the Con crowd is generally pretty cool and civil to one another. That and the fact that it was held so late, I think, ensured that it was a screening blessedly free of distraction. "There's Fire Where You are Going" turned out to be a particularly good episode for the occasion, featuring as it did several crowd-pleasing moments.

Spoilers after the screenshot



The episode begins with a rather old fashioned scene of three little boys playing catch. One of them is older than the other two and seems to be using his higher rank responsibly, encouraging the other two, complementing a successful catch and saying it was okay when a catch was missed. When he ran out into the street to get the ball, worried sounds from people in the screening audience told me everyone was thinking he was going to get hit by a car. But instead we see Miriam (Sarah Jean Long) who has managed to survive her encounter with Richard and crawl away. The sweet pie lover from the RR now looks pretty horrific.



I guess she doesn't have a phone--this would explain why she chose to report Richard via letter and why she couldn't call for help. Why doesn't she have a phone? Why can't Cooper (Kyle MacLachlan) wake up? The paths to safety and effectiveness are mysteriously blocked.



Except Dougie seems to be getting by on pure instinct. When Dougie's meet up with the Mitchum brothers concluded in the desert with Rodney (Robert Knepper) and Bradley (Jim Belushi) ecstatic over the 30 million dollar check, the audience applauded widely and it occurred to me how the episode was broken down into little stories and how masterfully Lynch orchestrates the telling of them with sound and editing. Dialogue, too, but I think what Twin Peaks is showing is how many aspects of cinematic storytelling are being neglected for the fact that the star of this modern age of television tends to be the writer. I can see this being related to the joy in experiencing Twin Peaks without the spoilers of trailers and synopses--audiences who are used to getting all the material via language might see little difference between getting the description of an episode plot from Wikipedia and actually experiencing the episode itself. Obviously I'm a great lover of writing but Twin Peaks is highlighting the other methods of storytelling.



The episode features two instances of guns being fired but failing to harm or kill--Becky (Amanda Seyfried) firing a gun into the apartment of Donna's sister, Gersten (Alicia Witt), and the little boy who finds a gun in his parents' car and fires off two shots. Where the first seasons of Twin Peaks began with the horror of a child murdered by an adult, Lynch is now writing for a world where the horror often comes from the fact that kids are murdering kids. Neither Becky or the little boy ought to have had access to a firearm, I think that much is clear.



The one point where I felt like the audience had an inappropriate reaction was when they laughed at this shot of the little boy. I think Lynch meant for it to be a little more disturbing though I think laughter is sometimes provoked by nervousness and fear. Lynch tellingly juxtaposes the kid with his father, both looking like hunters in their camoflage--or one could say woodsmen.

This sequence, beginning to end, is in itself a masterpiece. From where it starts in the diner to where it ends with the sick girl in the car, Lynch strings along surprising pieces of information with the instincts of a great orchestra conducter. I want to point out again how much mileage he gets from the briefest shots of Peggy Lipton.



This actress has become a genius at communicating with subtle facial expressions. I'd also be surprised if Dana Ashbrook doesn't get a lot of phone calls for cop roles after this.



We finally get filled in on the details of the new Briggs family dynamics and we see Shelly (Madchen Amick) has once again fallen for a bad boy, Red (Balthazar Getty), though he seems to be a lot worse than Bobby ever was. It was nice to see the brief look of sympathy Becky gives to Bobby, as was her sudden realisation that she'd very nearly killed her mother in one of the show's most effective stunt sequences.



Becky does love her parents and, like Shelly's love for Red, Becky's love for Steven (Caleb Landry Jones) seems misguided though one is given pause when one considers the same might have been said for Shelly's love for Bobby in the original series. Like those gunshots, things never seem to hit the mark.



And I can talk about all this and I still haven't mentioned Gordon's (David Lynch) encounter with the woodsmen and the death of William Hastings (Matthew Lillard). That was wonderfully done and I loved the compositions in the police station afterwards--I mean, jeez, look at this, where do you see anything like this in film or television?



Laura Dern is making Diane a strange and beautiful femme fatale.

And after all this greatness, the episode ends with a scene that might be the best of all, the Mitchum Brothers and Dougie dining on cherry pie and champagne with the piano tune that magically switches from heartbroken to mysterious and playful at just the right moments. I loved how Candie (Amy Shiels) seemed about to break into a song about the traffic on the strip.



Seeing her with Dougie, and their similarly spaced out personalities, made me feel more and more that, if the question this season is "Who is Laura Palmer," my money is on Candie.

Twitter Sonnet #1016

In future darkness dreams of pie await.
In space magicians long to see a play.
Between two worlds of dawn and night we ate.
In steady step with fire I assay.
In dough began the sign of coffee smoke.
In dreams the special box directs the heat.
Tobacco dragons saw the fated stroke.
Forensic cats ascend the hotter seat.
In turning skies the stairs descend on Earth.
In barrels ev'rywhere the shots'll miss.
Beneath enclosing air's encrusted worth.
A fighting bull awaits in quiet bliss.
The lights on asphalt crashed into the toad.
Electric stones begin to burn the road.
setsuled: (Skull Tree)


David Lynch's ability to blur the line between comedy and horror was on admirable and fascinating display last night on the new Twin Peaks. Moving to a meditation on abuse and disjointed affection, last night's episode, "Laura is the One", continued the show's exploration of the basic problem arising between innocent love and jaded selfishness.

Spoilers after the screenshot



More and more, I think Jerry Horne's (David Patrick Kelly) statements on his ongoing odyssey in the woods are reflections or distillations of the whole episode's themes. This time we see him frustrated that his phone is getting no signal and it prompts him to scream, "You can't fool me, I've been here before!" If we distil this moment to its basic meaning, we can see that it is repeated in different ways throughout the episode--Jerry, who's lost, doesn't have what he desperately needs, a phone signal, which would allow him to communicate his need for help. His response, prompted by his distress, is to make a display of strength along with a denial of the apparent reality, claiming false or irrelevant knowledge ("I've been here before"). There's the assumption that, because there was a signal there before, there ought to be one now, based on Jerry's feelings more than anything else.



Richard Horne (Eamon Farren) is lost in another kind of woods, guilty of killing a child, his display of strength is physical violence. He goes to his grandmother, Sylvia Horne (Jan D'Arcy), and when he doesn't receive the aid he did in the past, he shows strength and asserts a right to what she has. Then we see this pattern reflected again when Sylvia calls Ben (Richard Beymer) and she expects more money from him while he considers it unreasonable. This is similar to the situation with Frank Truman and his wife who seemed irrationally aggressive but our reactions to her are tempered when we find out what happened to their kid. So now we see Sylvia, who throughout the first two seasons barely had a presence except as a nag to Ben, has her own reasons for being emotionally distressed and aggressive. And who can blame her.



Poor Johnny Horne (Eric Rondell). That bear with the distinctly Lynchian replacement head is like an instrument of torture but is clearly meant to be some kind of therapeutic device.



Carl (Harry Dean Stanton) has his gentle love song interrupted by a mug thrown out of a trailer window by an abusive Steven (Caleb Landry Jones) who's screaming at a cowering Becky (Amanda Seyfried) about his needs. I guess he is as bad as Leo. He concludes by asserting "I know what you did." Again, a violent assertion of a perceived right based on possibly false or irrelevant knowledge.



My favourite thread in the episode was Candie's (Amy Shiels). Wow, was that strange and intriguing. It starts with a bit that seems like a repeat of Lucy (Kimmy Robertson) chasing a fly in the sheriff's station from the original series. Candie hunts the fly with a red handkerchief but, in what should be little more than a moment of broad slapstick, she smacks her gangster employer, Rodney Mitchum (Robert Knepper), in the face with a remote control.



It's funny except Candie is bizarrely devastated. Still crying about it later, she wonders, "How can you ever love me after what I did?", much to the confusion of both Rodney and his brother Bradley (Jim Belushi). Her reaction is out of proportion for several reasons, for one because no-one really believes she meant to cause him harm, and another because their relationship doesn't seem to have been on this emotional level. She's one of three girls who seem basically to be living ornaments or errand girls. The Mitchum brothers clearly don't seem ready for her to actually put emotional investment like this in her role, it's as though she's been bewitched by the superficial details. When she muddles a simple task later it's because she seems, like Dougie (Kyle MacLachlan), to have become a sleep walker. The episode's title, and the Log Lady's (Catherine Coulson) message near the end, refer to Laura Palmer (Sheryl Lee). But aside from a vision of a scene from Fire Walk with Me witnessed by Gordon Cole (David Lynch), we don't see any reference to Laura. Since Leland tasked Cooper with finding Laura, I've wondered if this meant Laura has become an inhabiting spirit like Bob or Mike. Could she have taken possession of Candie? Or maybe we're meant to be looking for her in the characters and thereby scrutinising them differently for that reason.



And where does Dougie fit into this? He has a visit with the doctor, in fact Doctor Phlox, of all people, from Star Trek: Enterprise, John Billingsley. The casting is odd for how not odd it is. We learned in the previous episode that people are used to Dougie having lingering effects from a car accident, so that explains why people haven't been more alarmed by his recent behaviour. It doesn't prevent him from bonding with Janey-E (Naomi Watts) on a physical level. So at least one couple is happy in this episode, though, again, it's a relationship based on a misunderstanding. I loved how Watts is lit in the sex scene:



Of course, I should point out I was right about Albert (Miguel Ferrer) and Constance (Jane Adams), who seem to be on the right track.

setsuled: (Doctor Chess)


Look at those colours and angles. Diane (Laura Dern) is a dragon on that couch.

Last night brought the most linear, logical episode of the new Twin Peaks season so far, but it was still wonderfully weird and refreshing.

Spoilers after the screenshot



Is it just me or did Constance (Jane Adams) and Albert (Miguel Ferrer) just fall for each other over Major Briggs' headless corpse? They seem like they'd be a good couple.

Don S. Davis, who played Major Briggs in the original series--and was forever typecast as a military man afterwards--died some years ago but he's still a big presence on the new series. The sequence of scenes where Bobby (Dana Ashbrook), Frank Truman (Robert Forster), and Hawk (Michael Horse) uncover the capsule that's been kept hidden by Betty Briggs (Charlotte Stewart) all this time was wonderful. Mostly a call back to the surprisingly tender moment from the première of season two between Bobby and the Major at the RR, the scenes in the new episode were both effectively sweet and engrossing as puzzle pieces falling into place.



Sound is playing a very prominent role so far on the new season. This episode features two examples of a strange hum, both in Briggs' capsule and the recurring mystery hum in the Great Northern.



I love these little scenes between Ben Horne (Richard Beymer) and Beverly (Ashley Judd). Beymer's mannerisms as Ben have always been strange and funny and the two actors play out these moments well as little pockets of tension. They're fascinating as a potential affair largely because the sound, Beymer's performance, and the knowledge of Beverly's home life make you wonder what else is going on beneath the surface. Ben Horne was always one of my favourite characters--he was funny, sweet, and scary, and sort of like a dangerous, unpredictable predator. At least until he thought he was Robert E. Lee in season two. I'm glad no-one's dwelling on that.



I wondered if we were going to see Johnny Horne (Eric Rondell) in this season. Apparently that's Ben's wife, Sylvia (Jan D'Arcy) with him though we don't get a good look. It suggests Ben's family life is still as dysfunctional and cold as ever, something where maybe he and Beverly might have a lot in common.



Poor Jerry Horne (David Patrick Kelly) continues his bad trip in the woods. He finds himself in an estranged relationship with his foot, which could be seen as a version of what Ben is going through, though it might also be, like his feeling that his car had been stolen a few episodes earlier, a reflection of Cooper's (Kyle MacLachlan) story, a man whose life is certainly not his own.



Mr. C arrives at the farm and things feel a bit Tarantino-ish for the presence of Tim Roth and Jennifer Jason Leigh. I hope we'll see more of them both. I love the unexplained pair of people motionless on the ground in the background--such a Lynchian detail.



One of Lynch's talents it's easy to forget about if you watch his movies over and over (like I do) is how good he is at crafting surprises that are strange but also just close enough to credible keep you in the reality. I really, really love the three big cops investigating Dougie's case. I love the one credited as "Smiley" Fusco (Eric Edelstein) whose laugh Lynch deploys with surgical precision. The cops are like classic, cynical noir detectives just tipped into the surreal. Even the sergeant who comes in to take the fingerprints--he's in such a good mood and he's got those weird, big gestures, but it's weird like real people are weird.



I wasn't familiar with Sky Ferrera before this but I loved her scene in the roadhouse where she talks about working fast food places and scratches the huge rash in her armpit. I was reminded of the idea Lynch and Isabella Rossellini had for Rossellini's character in Wild at Heart, that she should somehow be both ugly and beautiful at the same time and that the two qualities should be related to each other in a strange way. Ferrera's conversation with her friend (Karolina Wydra) was also like a deranged version of the conversation between Donna and Maddy in the season two première.

Last night's episode ended with a welcome second performance from Au Revoir Simone. This season of Twin Peaks may end up having one of the greatest soundtracks in the history of television.

setsuled: (Skull Tree)


Where to begin with last night's Twin Peaks? I watch a lot of movies and it's only a few times I can remember walking away from something so brilliant I felt like I didn't want to see or hear anything else for a good while afterwards. I achieved that beautiful afterglow last night. I wondered if I'd ever get anything done ever again. But to-day I'm ready to talk about it, another sign of a great work of art, and to be sure lots of people have been talking about it, opinions generally divided between assertions that it's totally baffling and assertions that its meanings are very, very clear. Judging from most of the broad strokes of interpretations, I'd have to go with the latter assertion, which is a good thing. Art is about communication not obfuscation, it should be clear. Often times when people say a great work is confusing, generally the impression I get is those people are too uncomfortable with the message they've received to admit they understand it, which is definitely the impression I have here. This is one of those times where the few negative opinions are an additional sign that a work of art has succeeded well beyond measure. And, oh, wow, has it.

Spoilers after the screenshot



I'm going to see if I can add some interpretation without repeating too much what other people have said. Plenty have pointed out that the episode ties the birth of Bob, and the malevolent supernatural forces of Twin Peaks, with the first atomic bomb detonation, thereby making the loss of innocence portrayed on Twin Peaks a reflection of the greater loss of innocence of the U.S. as a whole. Now, of course, one can point out that the U.S. and humanity in general have done plenty of bad things before the atom bomb. Lynch isn't arguing humanity was perfect before the atom bomb, he's using it as a symbol to tell a uniquely American story about love versus corruption.



A lot of people have pointed out that the Woodsman at the end who violently commandeers a radio station was played by an Abraham Lincoln impersonator named Robert Broski and then tied this to the image of Lincoln on the penny picked up by the little girl (Tikaeni Faircrest).



I didn't think of Abraham Lincoln when I saw the Woodsman but this makes sense with a lot of other things I saw going on in the episode. It's better to take Lincoln as a symbol than for any of the other nuances we'd consider when pondering him as a human being. Think about what Lincoln means to these profoundly innocent American kids--he's a symbol of what's great about the American spirit. He's seen as being the figure most directly responsible for fighting against another of the country's greatest sins, slavery, so to a kid in the fifties he's a symbol that the true spirit of the country is one that celebrates freedom and happiness for everyone and the strength to fight against anything that would curtail those rights. So the Woodsman taking the form of Abraham Lincoln would be an especially potent form of corruption.



The movie--I mean episode of Twin Peaks--is very much about symbol or rather media, both for good and bad. The spell cast by the Woodsman over the air waves, "This is the water and this is the well, drink full and ascend," seems to be commentary on the hazards of addiction to junk, meaningless media. Real art doesn't need to tell you it's the water and the well but this promise lulls listeners to sleep and renders them susceptible to Bob's control. One could say a corruption of a Republican president as a symbol that reflects a deep spiritual problem is a particularly potent story right now though I doubt Lynch was consciously making an argument about Trump. Though, who knows, maybe he was. Certainly misuse of the media has been a critical issue in this mess. "This is the water and this is the well," probably counts as fake news.



It's even more effective because a moment before, when the radio was playing "My Prayer" performed by The Platters, the medium was providing its listeners with a real well of spiritual sustenance. Like the image of Lincoln, the Woodsman has hijacked a genuine piece of art. The message about the horse I'm less certain of, though I my mind immediately associates it with the white horse Sarah Palmer had visions of and which appeared in the Black Lodge earlier this season.



When the Giant (Carl Struycken) reviews the events of the atom bomb detonation and what it caused, he's not simply viewing security footage, he's viewing the same footage we saw, in other words Lynch's film. This is emphasised by the fact that the Giant is viewing the footage in a movie theatre, Lynch is showing us how art can show us a truth which we can then act upon. The Giant then hovers and then reclines as though sleeping and from his head, like a dream or like the strange stuff that emerged from the dead child a few episodes ago, comes a gold substance producing a golden orb with the image of Laura Palmer (Sheryl Lee) inside.



But it's not just any image of Laura Palmer or a new image of Sheryl Lee. It's that same prom queen photo we've seen again and again. Like the image of Lincoln on the coin, this is less about Laura than about what she symbolised for the community of Twin Peaks. I've been listening lately to the recently released audiobook of Laura Palmer's diary performed by Sheryl Lee--and she deserves big praise for it. She does not compromise on mining emotional trauma for her performance. Much of the book has to do with Laura's anxiety about her persona, and the responsibility it confers on her, and the contrast with Bob who isn't just abusing her physically but is conducting a lifelong campaign to make her feel ashamed of her sexuality.



This is something very much at play on the show as well. Just as at the beginning of season three the young couple are engaging in innocent, casual sex and are murdered for it, we see two kids in last night's episode who are even more innocent, their shared first kiss as adorable as anything I've ever seen (I wouldn't be surprised if the little boy ended up being a young Gordon Cole). We're seeing corruption and fall from the Garden of Eden and instead of Eve eating a fruit she swallows a newborn Bob who looks like a frog with cockroach wings.



I doubt Lynch was thinking about Paradise Lost, though maybe he had been--Milton had a huge influence on American 19th century literature and was, in praising him, called by Margaret Fuller a great example of a Puritan-- the moral conflict shown on Twin Peaks seems clearly a descendent of American Puritanism. When seeing Bob's early form when he invades the little girl in her sleep, it's hard not to think of Milton's description of Satan when he's manipulating the dream of a slumbering Eve:

him there they found
Squat like a Toad, close at the eare of EVE;
Assaying by his Devilish art to reach
The Organs of her Fancie, and with them forge
Illusions as he list, Phantasms and Dreams,
Or if, inspiring venom, he might taint
Th' animal Spirits that from pure blood arise
Like gentle breaths from Rivers pure, thence raise
At least distemperd, discontented thoughts,
Vain hopes, vain aimes, inordinate desires
Blown up with high conceits ingendring pride.




I loved the pacing and imagery of last night's episode. All this interpretation does nothing to convey the wonder in the pure experience of watching the episode.

The perspective on the atom bomb explosion starts out making it look strange even before the camera pulls into a 2001 homage. Like Kubrick, Lynch was here using a barrage of strange and violent sensory stimuli to impress upon us how perfectly strange the experience is for the human mind, rendering clearly how a barrier between two worlds is being violently torn down. Many people are speculating that the strange being shown vomiting is the same being who murdered the couple back at the beginning of the season, which would make a lot of sense. Looking at the screenshot now, I just realised that her hand is backwards--the thumb is on the wrong side:



Much like everyone speaks backwards in the other world. I'd love it if we found out eventually it was Alice's looking-glass world all along.

Also, I enjoyed the performance by Nine Inch Nails. As with "My Prayer", the lyrics to the song nicely complimented and expanded on what we were seeing.

setsuled: (Mouse Sailor)


Last night's new Twin Peaks may have spent more time actually in Twin Peaks than any previous episode of the new season and it was an exceptionally fast paced episode. With many satisfying developments and answers it also presented some new questions, and it did both these things in the understated manner that makes the inherent mystery of Twin Peaks so nice.

Spoilers after the screenshot



So it's Andy (Harry Goaz) who comes across the truck driven by Richard Horne in the previous episode, a truck that apparently belongs to a new character too nervous for some reason to answer Andy's questions then and there. Gentle, simple Andy might be the wrong man for this job, agreeing to meet the guy in two hours at which point of course the guy doesn't show. There's an added ominous note in the place Andy chooses to meet--the corner of Sparkwood and 21, the same place James last saw Laura Palmer. Maybe it was in Andy's mind from going through Cooper's file. For whatever reason, the familiar synthesiser intro to Laura Palmer's theme playing over a waiting Andy did much to collect more dread.



Another nicely atmospheric, Twin Peaks location moment later in the episode featured Ben Horne (Richard Beymer) and his assistant Beverly (Ashley Judd) trying to track down the source of a faint ringing noise in the Great Northern. The lighting in the hotel was particularly evocative of the old series, the other locations tending to look less familiar because they look better, being locations instead of sets. I like the upgrade but it was sweet seeing something a little more like the old times. And I really liked the multiple ways the scene operates--on the level of spooky atmosphere, on Ben being just a little suggestive while reminiscing about Laura Palmer, and on the hint of flirtation between him and Beverly. And Beverly, true to Twin Peaks form despite being a new character, is soon revealed to have another side to her personality when she goes home to her wheelchair bound husband, Tom (Hugh Dillon).



How many wheelchairs have we seen on Twin Peaks now? The scene most clearly echoes Leo Johnson when Tom seems suspicious and abusive, until the tables turn and Beverly starts getting a bit angrier than the situation calls for. I guess she really does like Ben. Also in a wheelchair was Mrs. Hayward, who's not listed as appearing in this new season, though her husband, Doc Hayward (Warren Frost), did appear last night in an oddly adorable, unexpected Skype scene between him and Robert Forster's Frank Truman.



Watching Robert Forster interact with modern technology makes the entire modern world seem somehow silly. Sorry to have brought you to these times, Mr. Forster, but we're glad you're here. I guess it's not like he's been away--I see now on Wikipedia he did three episodes of Teenage Mutant Ninja Turtles. What the fuck. Well, okay, that newer Ninja Turtles show isn't actually that bad, I've seen part of the first season.



Last night's Twin Peaks began with Jerry Horne (David Patrick Kelly) lost in the woods. It's nice seeing the Horne brothers with a little more material than in the odd, brief scene in the season's first episode. The more episodes I see, the more cohesive it all feels and I can see now why Lynch considers the season more like an eighteen hour movie than a series of episodes. All the same, I'm glad he didn't release them all at once because, as much as I'm normally not given to binge watching, I know I'd shut myself in to watch all of these in one go if I could.



Jerry seems to be having a bad trip and he's worried about his stolen car, dialogue that in retrospect seems like he might be psychically channelling the scene in Dougie Jones' office where the still sleep walking Cooper (Kyle MacLachlan) answered questions about his car. This was just before one of the more enjoyable moments in the series so far when Cooper suddenly became a man of action to thwart the hitman, Ike (Christophe Zajac-Denek).



And then Lynch puts the cherry on top with an appearance by The Arm, egging Cooper on to squeeze off the assassin's hand. It's one of those moments where you realise a man travelling between an earthly and spiritual plane looks quite a bit like a dangerous lunatic. That blurred edge makes everything more intriguing, much like the multiple layers in the other scenes.



The scene's also likely Lynch's revenge on Michael J. Anderson, the actor who originally played The Arm, also known as The Man from Another Place, in the original series before making slanderous statements about Lynch following his failed effort to get more money out of the director. Ironically, it was in an interview with Anderson that I learned how the famous tailgating scene in Lost Highway was made after Anderson witnessed Lynch being tailgated by an asshole motorist. Now we see the character Anderson used to play urging Cooper to mutilate a villainous little person. Among other things, it seemed like Lynch saying loud and clear, "This character ain't yours anymore, motherfucker."



Another highlight of the episode was Laura Dern as Diane, brought to interrogate the bad Cooper despite her marked reluctance. It seems clear the bad Cooper raped her shortly after the events of the second season though this is never explicitly stated. It doesn't have to be, it's entirely in Dern's performance, which speaks volumes, and the way she toasts the FBI. We can see clearly someone whose whole life was upended years ago when someone she thought she could trust betrayed her in a fundamental way. Having a great actress, and a director who knows what she's capable of, makes a very, very big difference.



Or maybe I should say "yrev". I didn't notice that bad Cooper had said one of his verys backwards the first time though I did see people online pointing it out. Last night's episode charmingly just assumed everyone had noticed. I loved Gordon (David Lynch) counting the words on Tammy's (Chrysta Bell) fingers.



I also really loved how this episode ended with just a little slice of life in the RR. I want a whole night's worth of footage.
setsuled: (Frog Leaf)


The stakes seem to be getting higher on Twin Peaks as several characters seem to be trapped, unable to move forward. I identified last week a theme of victimised children and that's certainly become even more prominent this week. Along with this, issues of identity and the line between innocence and guilt are being further developed. And of course, it's all beautifully shot and the soundtrack album is going to be phenomenal.

Spoilers after the screenshot



I'm a little sad people seem to be getting impatient with the Dougie storyline, but I guess that's to be expected. It might be the most autobiographical story David Lynch has ever filmed and part of the reason people are having trouble understanding it is that there's a growing misunderstanding of what it means to be an artist. People increasingly believe that great art is produced by formulae, that every effect an artist achieves is due to a master plan. There is plenty of calculation that goes into the work of most artists but most artists will also tell you they have no idea which things they do will have a meaningful impact on people and which they'll barely notice. That's what we see when Cooper (Kyle MacLachlan) makes those seemingly meaningless doodles on the case files--and later they surprisingly have real significance to Dougie's boss, though Cooper himself seems to have no conscious understanding of what he'd produced.



Cooper had always been childlike and possessed of a great power of intuition. His experience in the Black Lodge seems to have rendered him a sleep walker and all of his powers of intuition have been enhanced. Or rather, his powers of intuition seem to be the only cognitive ability he has. But it all works as a metaphor for the artistic experience--Cooper starts out finding slot machine wins, a simple display of innate talent. Now he's moved on to something more sophisticated. At the same time, Mike (Al Strobel) implores him, "Don't die", which suggests he can't safely stay in this somnambulist state forever, and this is beautifully expressed in the idea of this great character, Agent Cooper, drowning in the dull life of Dougie Jones. This is the world of algorithms and formula that drowns an artist.



Janey E (Naomi Watts) seems to have all the other side. Her euphoria at the cash windfall has evolved--now she doesn't only want to pay off the 50 grand debt, she's decided to make the surplus from 125,000 even greater by negotiating the debt down to the original 25,000 loan. Now if only she and Cooper can combine their talents to a shared goal.



Cooper's also connected to children--Dougie's boss specifically describes his drawings as a "childish scribble"--and Cooper seems to have an instinctive connection with Sonny Jim (Pierce Gagnon). There are three innocent little boys now--Sonny Jim, the Drugged Out Mother's (Hailey Gates) son, and the poor little boy who gets hit by a car and killed, witnessed by Carl (Harry Dean Stanton).



Poor Carl. He'd already gone places and was happy where he was, as he said in Fire Walk with Me. All he wanted was a nice day in the park but it's Harry Dean Stanton's reactions that sold the emotional impact of the scene more than anything else.

These little boys--it's easy to look back and see them recurring throughout Lynch's films--Isabella Rossellini's son in Blue Velvet, Sailor and Lula's son in Wild at Heart, the child in The Grandmother. That last one, like Cooper now, seems pretty autobiographical and Lynch seems to identify with these kids, helpless in an angry and violent world.



Kids affected by war are mentioned twice--Frank (Robert Forster) and Doris (Candy Clark) had a son who committed suicide, apparently related to PTSD following service in one of the recent wars, and then Carl talks to a young man whose wife was apparently injured in the war. Neither of these characters are literally children but we learn about them through point of view characters who are their parents or old enough to be their parents.



Richard Horne (Eamon Farren), the sinister, predatory guy from the Bang Bang Bar last week, makes it clear he does not want to be thought of as "a kid" and in the process of trying to avoid this identity he kills a child, something he angrily rationalises almost immediately to avoid feeling guilty.



A generally melancholy episode, a mood assisted much by more score from Angelo Badalamenti and a closing song by Sharon Van Etten, also had some lovely lighter moments. Albert (Miguel Ferrer) angrily curses out Gene Kelly though he does so in a beautiful shot. We learn that the legendary Diane has been Laura Dern all this time, which of course makes sense, and back at the RR we see that Heidi (Andrea Hays) finally got her car started.



I also loved the sequence of Hawk (Michael Horse) finding those pages in a bathroom stall. Would those be pages from Laura Palmer's diary containing the message Annie told Laura to write in Fire Walk with Me? It seems likely though I don't see how knowing the good Dale was in the Lodge and can't leave is going to help anything. Maybe that's not all Laura wrote.

Also, is this the Black Spot from Treasure Island?



Twitter Sonnet #1002

All green collapsing matter was glued.
In ev'ry fallen hole arrived the dough.
Interred in cokey urns the drugs renewed.
A finer Hur than Ben will never row.
To set the cruel and metal chin was moot.
For tables growth discussions can result.
You must look out for any miser's suit.
Emboldened bins assay a dust assault.
Reactions mute beside the dropping face.
Above the wires speak with voice in arms.
A bunker stack of coffees start the race.
The oil sees but some of what it harms.
Inside a cauliflower stem's a mind
A hundred botanists could never find.
setsuled: (Mouse Sailor)


Twin Peaks took a turn for the melancholy in last night's new episode. So far it's been mainly intriguing weirdness but with last night's episode the show subtly shifted focus to the emotional state of victims.

We've now had essentially a five hour David Lynch movie and I can't believe there's more to come. I marvel at the consistency in filmmaking quality and it's so refreshing to have a show that never for a moment assumes I'm stupid.

Spoilers after the screenshot.



For instance, I liked how Lynch never cut to a close-up of the cup Cooper (Kyle MacLachlan) is holding to explain how Frank (Bob Stephenson) knows that was his coffee. If Lynch didn't have final cut on these, I guarantee some busybody at some point would have said, "No, we have to make it super fucking clear for the morons at home."



I love watching Frank discover he really likes the green tea latte. Such a small, kind of adorable moment. I'm continually amazed how much attention to detail there is on the show, how Lynch just keeps putting together interesting shots. Look at this shot of the Drugged-Out Mother (Hailey Gates)--yes, that's the character's name in the credits.



At some point Lynch or his cinematographer, Peter Deming, said, we need a big red ball in the background to go with her top. Almost everything in her house is grey, red, white, or brown. Her poor kid's shirt is somehow sad and perfect.



We also have another sad moment for a kid when Cooper inexplicably sheds a tear for Sonny Jim sitting in the back of the car. Why? Because he knows the kid's father is gone, probably forever? That his father was only some kind of manufactured decoy?



Going to older children, I loved the scene in the Bang Bang Bar where the sinister guy toys with the teenage girls making eyes at him. It's so horrible--credibly horrible. Nowadays every kid on TV has to be a wiseass but you can see these girls really are kids, just getting a little excited by the guy who's breaking the rules by smoking a cigarette, and one of them, Charlotte (Grace Victoria Cox), takes a risk and immediately gets in over her head. It's both an unusually human moment and a classic Twin Peaks moment.



We finally get a scene in the RR and we finally meet Amanda Seyfried's character, Becky, apparently someone close to Shelly (Madchen Amick). Wikipedia says she's Shelly's daughter but I'm not sure we know that. It's hard to hear Becky and Shelly's conversation, maybe she called her "Mom" and I didn't hear it. My impression was that Shelly and Becky had developed a relationship somewhat like Shelly and Norma's (Peggy Lipton). Becky's last name in the credits is "Burnett", as is the guy she's with, the really skeevy looking Steven (Caleb Landry Jones) so I guess she's actually married to him. I guess he's not as bad as Leo but that's not saying much.



The RR scene is the closest to the kind of scene I might've predicted seeing in a new Twin Peaks series. It's obviously meant to resemble the scene in the pilot where Norma watches Shelly and Bobby outside in Bobby's car. How nice it is that this time Lynch was able to shoot entirely with the location RR instead of using an L.A. soundstage for the interior, allowing for that interplay between interior and exterior.

I like Amanda Seyfried, I look forward to seeing where Lynch takes her. Since Leland asked Cooper to look for his daughter, I've wondered if maybe Seyfried was going to be playing a reincarnation of Laura Palmer. With the cocaine and the bad boyfriend, or husband, she does seem Laura Palmer-ish, though she doesn't seem as self-possessed as Laura.



Age seems to have given Peggy Lipton a more elastic face and I loved how Lynch shot Becky's introduction from Norma's point of view, allowing us to discover the character alongside Norma trying to figure out the situation from a distance.



Poor Frank Truman (Robert Forster)--I guess his marriage isn't quite as bad as Becky's but I did feel bad for the guy. His wife, Doris (Candy Clark), is in the mould of Laura Dern's mother in Wild at Heart though maybe not quite as sinister. The things she's complaining about aren't really that unreasonable--she doesn't want to stand around watching a bucket all day--but her anger is dialled up way further than the occasion calls for. I love how Lynch shoots her from a low angle, raising her arms to the heavens when she says, "black mould!" with Frank Truman seeming to shrink in his chair from the opposite angle.



Poor Cooper, still hardly himself in that ugly lime green sport coat and stranded next to that statue he seems to take a liking to, providing an improbably perfect Lynchian composition even for something directed by David Lynch.



I guess I can't write about this show all day. Sunday seems too far away . . .
setsuled: (Default)


I had to go and watch all four of the new Twin Peaks episodes last week, so I have to wait another week to see a new episode. I guess I can say some more about the new series now since some of you spaced your doses more wisely and only just last night watched episodes 3 and 4.

Spoilers after the screenshot



I'm pretty sure Naomi Watts is wearing the same cardigan she wore at the beginning of Mulholland Drive.



I doubt her character in Twin Peaks is meant to be Betty or Diane but it's worth remembering that Lynch did say Lost Highway was set in the same universe as Twin Peaks. She sure looks happy serving those pancakes.



Imagine how nice it would be to have Naomi Watts make you breakfast. Anyway, she does a good job making it believable that she doesn't notice Cooper's wearing his tie on his head. I think we're going to learn next week that the sip of her coffee brought him back to his senses.



By the way, if you're wondering what the deal is with this ring Dougie wears, you haven't watched Fire Walk with Me. Go watch it now--you'll find other things you need to know about like the Blue Rose and the long lost Philip Jeffries. It wouldn't hurt to watch the deleted scenes, too.

But the ring hasn't ever been fully explained. It has a symbol seen in Owl Cave in season two in which a cave painting tells the story of the Black Lodge. But I strongly believe the ring is based on the emerald ring that figures into the plot of Alfred Hitchcock's 1943 film Shadow of a Doubt.



Along with Vertigo*, Shadow of a Doubt is probably the Hitchcock movie that most influenced Twin Peaks, with its depiction of a small, innocent American town, a sweet teenage girl, and her eerie relationship with her sinister uncle. Shadow of a Doubt is set in Santa Rosa, California. We meet Dougie in . . .



Which is also the name of the production company whose logo we see in the new opening credits. By the way, I really like Jade the prostitute (Nafessa Williams), I hope we see more of her.



But back to the ring. My belief that it's based on the one from Shadow of a Doubt is so strong I even worked some hidden fan fiction into a web comic I did a few years ago, Echo Erosion, where I show a character from Shadow of a Doubt, flirting with a man named Arnold Banks in 1952, my idea being they'd one day be the parents of Teresa Banks, the first victim of Bob on Twin Peaks and the first person we see wearing the ring.



In Shadow of a Doubt, the ring represents a moral choice, as accepting the ring means Teresa Wright's character, the innocent small town teenage girl, is accepting collusion with the murders her uncle has carried out--he stole the ring from one of his victims. The ring in Twin Peaks seems to work in a similar way thematically--it seems to mark its wearer for death. Dougie seems to be mixed up in something where he owes a lot of money but he's still spending cash on a prostitute, cheating on his wife in the process. The idea that Dougie is manufactured suggests he literally has no soul. When Agent Desmond in Fire Walk with Me takes the ring, he's wiped out of existence. When Laura sees the Man from Another Place holding the ring in her dream, Cooper warns her not to take it and later, when she's in the train car with Bob/Leland, we see her voluntarily putting on the ring, symbolising that, like Dr. Jacoby suggested, Laura "allowed herself to be killed". So while Dougie and Teresa wearing the ring seems to be a part of Bob's plan--he wants to kill them both--Laura wearing it is not because he doesn't want to kill her, he wants to inhabit her body. This is reminiscent of the strange psychic connexion Teresa Wright's and Joseph Cotton's characters share in Shadow of a Doubt--and the fact that both characters have the same name, Charlie, a mundane male American name, like Bob.



Well, I'd dying to see how the ring figures into the next fourteen episodes, if at all. I wonder if it's at any level meant to be a Lord of the Rings reference.

*It's well known that Laura Palmer's cousin, Leland Palmer's niece, Madeleine Ferguson, is named for two characters in Hitchcock's Vertigo, Madeleine Elster and Scottie Ferguson.
setsuled: (Mouse Sailor)


Where do I begin? I'm still in afterglow. It's not often you have your expectations not only met but exceeded but the new Twin Peaks has so far given me what I wanted and surprised me, too. Well, I wanted that surprise but there were things about these first four episodes I was only dimly conscious of having missed. It wasn't just classic David Lynch, it represented sensibilities in filmmaking that haven't been around since the 90s. Lynch shows us what we lose by allowing television to supplant film while at the same time showing us how television can adopt those things to truly be a worthy successor. He demonstrates how important a director is in a medium that is now largely more associated with writers. The atmosphere, the editing, the tone of the performances--I don't think it was simply nostalgia that made me so happy, though it was like dreaming a dream I hadn't had in twenty years. It felt like a door was opened in a room I didn't even know I was in.

Spoilers after the screenshot



Lynch largely forgoes any attempt to bring new viewers up to speed. I think a receptive new viewer might enjoy this purely for the ingenuity of filmmaking but the story doesn't waste any time picking things up right where they were left twenty five years ago with the final episode of season two and the 1992 movie, Fire Walk with Me.



People wanted to see Agent Cooper (Kyle MacLachlan) and that wonderful, charmingly innocent yet wise personality from the first episode, so I wondered if Lynch and Frost were going to dispense with the doppelgänger plot right away and try to have a sort of reboot. Maybe a new murder and then focus on the different townspeople and their reactions. Twin Peaks was originally conceived as a soap opera meets a detective procedural. Over the course of the second season, the soap opera aspect became noticeably stale and the detective aspect morphed the show into a supernatural detective series, and this is right where the new series picks up. Even Fire Walk with Me, which focused on the final days of Laura Palmer's life, was more about how the supernatural was an influence on that life and the ways in which supernatural planes interacted with the corporeal world and the FBI. The first shows to exhibit the influence of Twin Peaks, like The X-Files, tended to draw from the supernatural detective aspect while later shows like Veronica Mars or Broadchurch tended to focus on the more corporeal, earlier aspects of the show. In a world increasingly disinterested in stories of the surpernatural, or at any rate such stories that take themselves seriously, the new Twin Peaks may have trouble finding footing with new viewers, if Lynch's filmmaking brilliance can't win the day alone.



Remember what a boring idea it was when Steven Spielberg ditched the mysticism of the first three Indiana Jones films for aliens? Maybe audiences are ready to go back to that place with art more sophisticated than Dan Brown. Michael Cera's character, Wally Brando, introduced in the fourth episode of the new Twin Peaks, made me wonder if Lynch was mocking Shia Labeouf's character in Kingdom of the Crystal Skull, who was, like Wally, introduced on a motorcycle wearing the identical costume based on Marlon Brando in The Wild One. We're not meant to take Wally as seriously, though, as Robert Forster shaking his head as he walked away seemed to indicate. Everyone figured out Cera would be playing the child of Lucy (Kimmy Robertson) and Andy (Harry Goaz) but I don't think anyone saw the beat Brando impression coming. But it's perfect--like Lucy and Andy, he's ridiculous while making the audience feel like there's more to him. There's a kind of poetry in his ridiculousness that seems as though it might present insight.



And with respect to Hawk (Michael Horse), I do think it's the bunnies. Lucy says she ate one bunny but we can see two and a half are missing.



I really like Robert Forster as the new Sheriff Truman. I'm sad that Michael Ontkean was unable to come out of retirement--it sounds like he has medical issues--but Forster is fantastic. Along with Lynch himself as Gordon Cole, I feel like we're seeing the face of old wisdom that, like so many other things, we don't see very often anymore. Look at how hard it was getting people to accept Peter Capaldi as the Doctor on Doctor Who.



Gods, that poster.

This leads me to another thing the new Twin Peaks gives us I haven't seen in a long time--a great supporting cast.



A great director can use a bad actor though a good actor doesn't usually hurt. I can't always tell which is which on Twin Peaks which is exactly as it should be. The great number of new people introduced are somehow both peculiar and extraordinarily credible. They're weird and yet very real. The soft cops who seem more interested in the process of getting into Ruth Davenport's apartment than in any bigger picture, the wife who's concerned about guests coming later while her husband's being arrested. The characters are types yet there's things about them that push towards being types of people you might meet than being types of people you might see on a television series. Part of this is that Lynch seems blessedly free of the increasingly neurotic political influence exerting itself in media.



The fat lady in the hotel is a good example. She's believably ditzy, there's no compulsion to give her a moment where we see she's exceptionally intelligent in some way, we don't have the need to get a flash of a whole backstory where she's in some way a badass. But I've known plenty of people like her. Lynch paints with a full palette of characters as he peoples his world. The young man watching the glass box and the girl trying to seduce him suggest full personalities with their mannerisms even as they have pretty simple functions in the story.



I guess they chose a pretty bad time to have sex. Or maybe it was the sex that attracted that weird, shivering entity. The show has always linked sex with the supernatural, often in violent, tragic ways. It's the cosmic judgement or sin that Laura Palmer died for, the inability for humans just to let love and sex happen and be beautiful without imposing ploys for dominance or hang-ups.



Damn, there's so much more to get to. As with Michael Ontkean, I was sad Michael J. Anderson couldn't return to the show, though from what I've heard it's because Anderson was being kind of a dick. Also as in the case of Truman, I really like how Lynch made do in the absence of the old actor, in this case by creating the "evolution of the arm".



As we learned in Fire Walk with Me, the little man in the red suit played by Anderson was in fact Phillip Gerard's (Al Strobel) missing arm. On the new series, where apparently people, living and dead, physically age in the supernatural realm called the Black Lodge, the little man has evolved into a sycamore tree with a bare brain or possibly wad of gum at the top. I wondered if Lynch could really do anything to make the all too familiar Red Room seem strange again and I think he pulled it off by taking things in a decidedly more Alice in Wonderland direction.



Poor Cooper, trapped in the lodge all this time. I haven't even started talking about Kyle MacLachlan! He's so far played three roles on this show. As the sinister doppelgänger Cooper, he shows that Lynch is still the same guy who created Frank Booth and Bob. I can't say I'm a fan of the hair style, but there's something effectively menacing about him, not merely from his aura of effective violence, but for things like the dialogue where he explains how he doesn't "need" anything--he only "wants".



Then there's poor Dougie, who seems not to have even been a real person, but rather a decoy. It's brilliantly sad to think about, this guy who has a wife and kids, yet you do get the impression that there is a lack of something about him.

Anyway. I could write a book. I loved Naomi Watts and the reintroduction of the Horne brothers, Jennifer Jason Leigh, the musical guests, Dr. Jacoby's art experiment in the woods, Albert--gods, Miguel Ferrer is so vital here--Chrysta Bell, Denise Bryson, Sarah Palmer's enormous television with the lions tearing apart their prey. And a million other things I'm leaving out. And there's more to come! We haven't even seen Big Ed yet!

Twitter Sonnet #995

The lonesome foghorn's plastic seeds the lake.
On banks unsafe for rings or horns she'll light.
A blue and hidden key's cocaine she'd take.
The antler shadows grew into the night.
The feathered crown is hitting houses shrunk.
On shaded lawn a frame encased a dream.
Norwegian subs for one eye have sunk.
The feathered watchers are not what they seem.
A fractured floor reveals the certain stars.
Contained in dimming light the shaking cry.
With ease the shot replaced the eyes in cars.
The horns have been and arms can try.
A bunny missing twice must take it black.
The coffee not like oil rights the track.
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It won't be long now before we get to see a new episode of Twin Peaks. It's still not soon enough for me--"I want it now" has been repeating in my brain for over a year now; that and, "Why is it taking so long?" I've been getting ready over the past few days by watching INLAND EMPIRE, David Lynch's last feature film, released over ten years ago, and the final episode of Twin Peaks season two, the final episode of the series' original run. The two works are worlds apart, in their way, stylistically, but they're both inimitably David Lynch.

My love for David Lynch began in high school, in 1995 or 1996 or so. Lynch for me was very much a gateway drug, in terms of cinema and music. Before the Lost Highway soundtrack, all I listened to was orchestral film scores and "Weird Al" Yankovic. I went from being a nice Apollonian Trekkie to being a Dionysian lost cause pretty much thanks to David Lynch. Well, I may be overstating it slightly. But suddenly after Lost Highway my John Williams and James Horner CDs started gathering dust as I became a fan of David Bowie, Nine Inch Nails, and The Smashing Pumpkins, and instead of watching Star Trek II for a few hundred more times, I started watching not only David Lynch but also Cronenberg, South Korean horror movies, the Godfather films, and so much other weird shit. Something about Lynch showed me that there was more to art than a clever story about a nice shiny future or a sensible adventure.



I'd also have to credit my high school film-as-literature teacher, Martin Johnson, who's retiring this month. I suspect also the simple fact that I was a teenager made me more open to weird, transgressive stuff, too. But looking back, it seems to me a crucial step into adulthood, moving from my personal Age of Enlightenment into something like a personal Romanticism into Gothic and Realism (I'm referring to trends in art and literature of the late 18th century through the 19th). I can only hope with this new Twin Peaks Lynch will spur a similar maturation in audiences addicted to the simple linear logic of superhero films. I doubt it, but it would be nice.



INLAND EMPIRE, despite being, until later to-night, Lynch's latest film, may not offer any clues as to what to expect from the new Twin Peaks. Watching it a few nights ago, I was struck by the extraordinary number of close-ups, far more than in any of his other films. Often shots that start as close-ups get even closer with the effect of dehumanising the human face until it's an inscrutable mask of flesh.



Part of the reason for this, I believe, was Lynch's newfound love for low-quality digital video. Like found footage films, one of the effects of low quality footage is it makes it harder to see what might be lurking in the shadows and sudden movement and gradually revealed shapes are made eerier. But if you want to see facial expressions, you can't use long shots. But I don't think this is the only reason for the close-ups--INLAND EMPIRE is such an interior film, a beautiful and scary hallucination experienced by Laura Dern's character where suddenly no human face is familiar enough not to become frighteningly alien.



The finale of Twin Peaks season 2, by contrast, features an extraordinary number of long shots--long in duration and long as in distance between camera and subject. This, the first episode Lynch had directed in quite some time--he'd been away shooting Wild at Heart--in so many ways was clearly intended as a jab at the show Twin Peaks had turned into in Lynch's absence; an average, unremarkable soap opera. Filled with sudden, absurd, and violent terminations to plot threads, it also features some almost sadistic cinematic technique, particularly for a television screen.



It's hard for me to watch the old Twin Peaks because I've watched it just about to death, mainly just the David Lynch episodes, over and over, but one of the nice things about the Blu-Ray was the fresh perspective it gave. This final episode of season two is one of the ones that benefits most because of those long shots. Suddenly that charmingly excruciating scene in the bank, with the little old man shuffling from Audrey to Andrew and Pete, is a completely new scene because I can make out everyone's facial expressions.



But I always loved that scene, so fucking much. It's just such a beautiful and oddly sweet "fuck you" to the show that had become plot point, plot point, plot point, to plot point. Lynch mercilessly cranked it all down to have us watch this little old guy dealing with a slightly strange day at the bank that ends ludicrously and enigmatically.



I'm so glad Lynch is directing every episode of the new series, I'm so glad that he played hardball to get the budget he needed. To everyone who's talked about this new golden age of television, it's true, we are seeing some incredible TV. But whatever we see to-night, I guarantee it'll be like nothing you're used to.

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