Phaedrus' Street Crew
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About Urthman

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  1. And even this is nothing compared to Sheriff Truman's horrible game of telephone passing on the note from Laura's diary to Gordon. He just summarizes it as "alluding to two Coopers"?! He doesn't bother to mention the bit about the Good Cooper being trapped in the Lodge and can't leave?!?!
  2. I think I've got the best way to think about the Moon illusion. Imagine a plane directly overhead. Put your hand over your head at arm's length and pretend to measure the plane between your fingers. Now imagine the plane flying to the horizon and keeping it framed between your fingers. Your fingers will get closer together as it gets further away, right? Now imagine the moon overhead. Do the same thing, frame it between your fingers and imagine following it as it moves across the sky to the horizon. It doesn't get any smaller! So what's going on? It must not be going away like the plane did. It must be "closer" at the horizon. Since we expect clouds or planes to look smaller at the horizon because they are further away, when the moon doesn't get smaller on the horizon it seems too big or too close. Another way of thinking about it is that clouds and birds and planes in the sky are on a hemisphere the center of which is far below us at the center of the earth. Looking straight up we are right up against the edge of the circle and things at the horizon are far away. But the hemisphere of the moon and the stars is so far away we're basically at the center of the hemisphere and things at the horizon are essentially the same distance as things overhead. But if our brains imagine the moon and stars on the same hemisphere as the clouds, everything at the horizon ought to be much farther away and therefore smaller. But it's not smaller, so it seems either too big or too close.
  3. I've been seeing Dougie as a sort of caricature of Special Agent Dale Cooper - he wanders around, sort of off in his own world (thinking about the beautiful outdoors, carving a whistle), enthusiastically drinking coffee and eating pie, solving crimes by magic (dreams, Tibetan Rock throwing) and everyone just going right along with all his eccentricities as if there's nothing all that weird about him.
  4. Thanks for posting that. I really loved that weird music at the beginning and it's cool to hear it that way too. (I also noticed re-watching that scene that one of the presents--the diamond cuff links--comes in a box way too big for them -- like the life-saving cherry pie did)
  5. And yeah, "The Roadhouse is proud to welcome...James Hurley" has to be one of my favorite moments in the whole series so far.
  6. Also, the change in lighting or cinematography for Audrey's scene would, in any other movie, be shorthand for, "This is something the characters are seeing on TV." (But given the content, it seems much more like Audrey's in some kind of supernatural trouble rather than working as an actor on a TV show.)
  7. I think the point of the scene with the franchise man trying to get Norma to compromise on her pie ingredients is that all this time Doogie has been eating cherry pie, but he still hasn't had any Cherry Pie.
  8. Going back to watch it again, I wondered if that was why he lit that paper on fire - to more clearly see whether he was imagining that his reflection was spookily out of sync.
  9. All this time I thought they were just being cool by abbreviating segue as 'seg.' Like referring to your vacuum cleaner as the 'vac.'
  10. Are the episode titles even from Lynch/Frost? or from Showtime?
  11. Hearing Chris and Jake talk about the scene with Ben Horn and Sheriff Truman made me realize something I liked about it and a few other scenes in this season of Twin Peaks. One of my biggest pet peeves is when a movie or TV show skips over a critical conversation because the topic is something the viewer already knows. This sort of thing: Bob: How dare you show your face here, Alice! Alice: I've got something you want to hear. [CUT to next scene because the "something" is what happened in the previous scene] Me: NOOOOOO! You're skipping the most important part! It's not the mediocre action scene that revealed Bob's mother is still alive, it's Bob's reaction to that news I want to see. Whether it involves a character learning he's been wrong about something or that a cherished thing or person thought lost has been found, that's (potentially) so interesting! Or getting to hear how Alice tells the story to Bob. And yes, I know those kinds of scenes are hard to write well, but that's what I'm paying you for, writers! So many movies and TV shows are just plot plot plot plot plot and it's somehow anathema to have characters recount part of the plot the viewer already saw, even in situations where it would be very dramatically satisfying to see that conversation. But there have been several Twin Peaks scenes where characters discuss explicitly plot points that we had already been able to infer, and (maybe trained by all the other TV shows) I was a bit disappointed to have something spelled out that was already pretty clear. With the Ben Horn scene, Lynch was giving me what I wanted, caring more about how characters receive news than just advancing the plot another notch.
  12. Am I the only one who felt like the look Sarah was giving Hawk said, "What, help me like you helped Laura?"
  13. I doubt it's true, but I really want to find out next episode that Audrey is an actress on a soap opera and that was an Invitation To Love type scene from it.
  14. "That lady said her husband was going to come by and pick this up. Could you please box it up for me?" "We're all out of pie boxes. Did she already pay for it?" "Yeah, it's ready to go. Just use one of the big ones." "Oh, hey, are you here for the pie?" "here for pie"
  15. I think the weirdest thing in the whole episode is Diane's insane comment in the police station. They're out in the middle of nowhere. Nobody around. Suddenly Hastings is violently killed. What happened? Who did that? Did anyone see what happened? Everyone fan out and look around! Is there someone else here? (At lease I assume they made some attempt after the scene ended to figure out what happened?) Hours later, back at the police station, Diane says. "Oh yeah, I think I saw someone get out of the police car." What?! How is that possibly an acceptable thing to say at that point? Why isn't anyone demanding to know why she didn't mention that earlier? Even if Gordon, Albert, and Tammy are being extremely cagey about Diane and assuming the murder was inexplicably supernatural, surely the local cop would have exploded with outraged incomprehension at her dropping this bomb? The only sense I can make of it is that maybe people aren't seeing the dirty hobos as clearly as we are? Or maybe they're incapable of remembering them? So maybe Diane didn't actually see the hobo creeping up to the car the way we did, but rather just had some uncanny feeling of some kind of presence that she didn't credit until she heard other people talking about seeing glimpses of hobos?