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About Afterward

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  1. Those shaky arms seem to call back to Harold Smith's in the one moment he steps outside of his house. What a weird choice of a running theme. Arms.
  2. Twin Peaks Discussion

    I just recalled an important fact, or an important-if-factual memory: On some Twin Peaks DVD, I think one of the discs of the TV series in an edition that preceded The Entire Mystery, there's an interview of sorts where David Lynch is talking in a bar with Kyle MacLachlan and Mädchen Amick. The conversation has something to do with Twin Peaks but meanders quite a bit. At some point Lynch is talking about numerology and mentions his fondness for the number seven. Amick interrupts in a teacher's-pet sort of way to say: "You know what number I really like, is seventeen." Lynch shuts her down: "Seventeen's an eight—but that's a good number, too." and continues with what he was saying.
  3. Twin Peaks Rewatch 14: Demons

    I'm gonna choose to believe the irony was intended by the writers though because it adds another layer to one of my favorite gags in the series. I don't think it was mentioned on the podcast how perfect Nance's delivery is. (Perhaps you saw me in Westworld; I acted like a robotic cowboy? It was my best role, I cannot deny—I felt right at home, deep inside that electronic .)
  4. You guys ranting about how stupid the latest Mill Plot Twist was made me realize: In years of thinking about this show, I never bothered trying to parse that plot. I processed the whole thing only as flavorless intrigue spaghetti. Struggling to come up with a reason this episode would be named "Masked Ball", I thought the idea might be that Denice can be construed as wearing a mask, and the wedding reception is basically a ball. Kind of a stretch to read this into the German title-writers' intentions, but the alternative is... they just gave the episode a random title?
  5. Twin Peaks Discussion

    You might not know that you can still read posts on from the show's original run. Just set a filter for the weeks around an episode's airdate and you can find out what the fans were thinking! If you dare!
  6. Catherine didn't show any fear in front of the lawyer, either, but we saw how shaken she was after he left. She seemed totally cool under pressure in front of Shelly, but internally she could easily have been as terrified as she related to Truman. I'm inclined to believe she's telling the truth, if not necessarily the whole truth.
  7. I don't remember feeling very strongly about this episode one way or the other when I saw it the first time, but after reading the comments here and seeing the episode again, my main reaction is one of pity, mostly for the writers. ABC put Lynch and Frost in a terrible position by forcing them to reveal the killer. Long before jaded fans were saying "You can stop watching after this one," Lynch knew that the mystery wasn't just the premise that let the series begin, but the driving force that was necessary for it to continue. In making "Lonely Souls", all he could do was be as true to his story as he could be while he essentially destroyed it. What Twin Peaks will become in the absence of its central mystery remains to be seen. In this instant, though, the writers are in an awful predicament. Leland can't go back to being the pathetic/charming goof whom we used to know, but he can't be ignored, either. For the audience, he can only be Bob, and unlike Mike, the Midget, or the Giant, Bob's presence can never be taken lightly. Maddy's murder also created a tension where the audience knew Leland was the killer, but the characters, critically Cooper, didn't. This is used to some effect in "Drive with a Dead Girl", but can you imagine that scenario extended into another couple of episodes? The rest of the season? For me, even the scene where Leland offers to show Cooper his new clubs takes it a bit too far: Leland creeps up almost like a monster in a Looney Tune, whistling innocently when Bugs Bunny happens to turn around. If Cooper doesn't solve the mystery, the show runs the risk of becoming a farce. The writers have been painted into a corner, and it shows in this episode as characters are shoved forcibly into the necessary positions, expository dialog flows as from a fire hose, and dreams are retconned into clues with all the elegance of my trying to fit another analogy into this sentence. Lynch and Frost never intended for the murderer to be revealed, so the minutiae of early episodes could never have been intended to convey the meanings that Cooper reads into them here. Similarly, because Leland has to be eliminated, we have to get an explanation for his crimes out of the way, and this results in a speech that explains Bob in terms that the authors probably never imagined would be necessary. In many ways this is a story that Twin Peaks was never meant to tell, an episode that the show simply wasn't built to handle. The result is a disappointment for many viewers, especially for those who watch it with the critical eye that Twin Peaks always wanted and often deserved. But think of its creators, and what a disappointment it must have been for them!
  8. Twin Peaks Discussion

    Like, maybe, perhaps, Deadly Premonition?
  9. It seems to me that not everybody at the Roadhouse reacts to the murder. Donna definitely does, and interestingly Bobby appears to have some idea of what's going on, but dopey James is utterly confused by Donna's breakdown, and the extras are all carrying on without a care in the world. I didn't get the sense that Harry was aware of anything—the camera was basically ignoring him for the whole sequence. I did feel like that the Log Lady was able to see the Giant along with Cooper. She wouldn't think to mention it if she did. So by my count, the only people who feel the psychic shock of what's happening are Cooper and Margaret, whom we know to be spiritually aware individuals, and Donna and Bobby, who are a couple of teens. And any number of people could have shown up at the Roadhouse for this scene: Why don't we see Norma, who frequents the Roadhouse, or Shelly, or Audrey? Donna is heavily invested in Laura's story, as the teenage Cooper, but why does Bobby (who hasn't had cause to think about Laura for at least a week) get all empathetic all of a sudden? I have something to say about the Giant's apparent unhelpfulness but since my analysis kind of implicitly draws from later episodes I will spoil-tag it. Why does the Log Lady send Cooper to the Roadhouse when there's still time to save Maddy? Maybe once Cooper concludes that Ben Horne is the man, the die has been cast, and he's sealed Maddy's fate by not following the Giant's and Mike's clues correctly. He's dragged off to the Roadhouse (which, as we've seen, is also a courtroom) to hear the sentence for his failure.
  10. When Maddy asks "How are you going to get him out of the house?", Donna sidesteps and says "Not outside, just out of the front room", but she also answers the question by brushing her man-seducing hair. I think this is the first time I've noticed how this episode is structured around parallel heists. Donna and Cooper both have fairly straightforward "fetch quest" goals, and they both decide to use James Bond-esque methods rather than going through normal law enforcement channels. And they both get in over their head!
  11. More on Gersten Hayward: Her portrayor, child prodigy Alicia Witt, was nine years old when she played Alia Atreides in Lynch's Dune. Rather than her parents getting her the part of Gersten, I'm pretty sure Lynch had decided to make her a star and was just looking for a way to get her on TV.
  12. My brother pointed out to me that the piece Fairy Princess Gersten Hayward plays during the credits is an eleven-bar blues, which is pretty creepy in its own way.
  13. Why right?

    Japanese isn't a mirror image of English, though. If I understand correctly, written Japanese is either top-to-bottom and then right-to-left (this is like English if you rotate the page 90º clockwise), or left-to-right and then top-to-bottom (like English). So if you were drawing a correlation between writing direction and video game direction, you'd expect English-language games to go left to right, Japanese games to go top-to-bottom, and Arabic games to go right-to-left. Well, and here's what Wikipedia says: If we can trust Wikipedia on these points, I'd say that even Japanese developers can have an bias toward left-to-right movement based on their writing system. It'd be interesting to find out whether the metaphors of rightward and leftward motion for progression and regression in film bear out in the cinema of these other countries...