Gamebeast23456

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  1. For what it's worth, I actually think Better Call Saul might have higher ambitions than Breaking Bad ever did. It's cut from the same ultra slick, winkingly kitschy cloth, but there's very little wish fulfillment or perfectly sprung traps. It's just flawed people careening off each other, centered on classic, beginning-of-time narrative of rival brothers. Also, I think there's usually arguments to be made for raw technical mastery, and Breaking Bad deserves that argument. It is SO GOOD at being a TV show, maybe the best at it, even.
  2. To make myself clear, I was referring to two-three weeks of real-world time, not narrative time. I think a confounding factor in the structure of this season is that Lynch thinks of it as a 18-hour long movie, but people who are watching it week-to-week still just consume it as any episodic narrative that you don't have the benefit of catching up with once everything is released. Also, for what it's worth, we are watching a show that is a direct sequel to one of the most popular, acclaimed series ever. We aren't far away from popular fiction territory, even if this new season is more esoteric and self-selects it's audience more than the old show did.
  3. I think people overstate the merit of sticking it to 'traditional storytelling' in a medium. There's no inherent reason that F&L's approach to narrative in this season is inherently better or worse than 'standard' conventions. It's interesting, I want to see how it pans out/get a feel for why they chose to structure a story this way, but you don't get a prize just for eschewing conventionality, and you aren't inherently more or less worthy for it. I think back to like, David Foster Wallace describing his frustration with writing students who strive to make the overarching impression of their work their own cleverness, and how frustrating it can be, especially for someone who recognizes what you are doing but doesn't necessarily think your ability to make the choice justifies making it, or makes it inherently worthy.
  4. Harry Dean Stanton as this sage of the trailer park is my favorite quiet aspect of this season. The fact that we've seen him twice also makes me think his role won't stay quiet. I hope the revelation on Diane isn't just that she's been playing everyone and is about to heel turn. Her interactions with Cole have been so impactful and heartfelt, I'd hate it to all disintegrate away for a Sweet Twist. There's very little chance i get out of this one unburnt, though.
  5. I think there's a strange culture of Lynch schadenfreude (that I also indulge in) that almost feels uncomfortable with the amount of weight Lynch has in counter-culture or just sort of niche culture because he's also very clearly a 70 year old Midwestern white guy who totally carries that background with him in his work, and often subverts it. I think there's a desire to catch him stumbling. I don't mean for this to sound like I feel Lynch is beleagured or misunderstood or needs to be protected, no one is above critique. But it often feels like people really want to jump the gun on him. To not deflect my point onto anyone else, I personally feel like, as much as I love his work, my personal opinions and points of discomfort often leave me considering his work in bad faith, and this is heightened with this new series which is very weird and not complete or total.
  6. I often come back to wondering how the specifics of the edit job we're seeing contribute to these problems. I have to imagine there's another, alt-universe cut of this show that re-orders things and gives more immediate payoff to the kid plotline. I'm almost certain that spinning plate is about to get sucked back into the gravity of the A plot, but the fact that this kid was killed weeks ago and we've gotten, what, three scenes? that even mention it is frustrating. The whole timeline of this season is super alienating, especially at the pace of the show and watching it week to week. When did Dougie and Ike The Spike face off and we originally saw the crazy local news story on it? Three or four real world weeks ago? Now we finally snap backwards in time to the casino guys who are just seeing this now. It feels like this show is quietly playing with time in a way that isn't fully considered, or, just as likely, we haven't seen the actual reasons yet. It seems like the Revival will be incredible fodder for re-cuts and fan timelines. The official version is so spaced out.
  7. This episode felt really scattershot and empty. It's setting stuff up, but the things it's setting up could be arrived at in half the time (though I guess that's not really what you ask for from this series). Standouts: -I thought everything with Dougie was super fun. Shredded Kyle MacLachlan is a good time for all, and I think the continued shading on Janey is really giving Naomi Watts room to be a real presence in this show, which I appreciate every time we see her. -I don't like Audrey Horne existing in a world with Richard one bit. I don't think Audrey's return is going to be very pleasent. However, I do appreciate in some sense Twin Peaks really dipping back into shitty teens. -I'm glad we got some more Log Lady, though her appearence in this episode is more expositional and less potent. -Rebekah Del Rio! She gave us one of the best scenes in film history in Mulholland Drive and it's nice to see her. If you put much weight in the interlocking universes of MD and TP this appearence might be fun. Rebekah came all the way from Silencio to the Roadhouse! Maybe Janey-E will be triggered into remembering her past lives through a shitty camera phone video of Rebekah's performance! -Every week I warm up to Tammy. Her and Cole chuckling over Albert was really nice, and the insecurities that feed into her over-the-top persona have been hinted at enough to make her more fun to watch careening around this show, saucily expositioning. -David Lynch video effects struck again!
  8. Yeah, I mean, the whole scene is Chad doing something they've expressly told him not to do multiple times, and then acting like they're in the wrong when they tell him to leave. I think it's normal for humans to get tired of people acting cartoonishly mean, especially in the workplace.
  9. There's a fun picture on Reddit of someone trying to visit the website on a 1997 computer.
  10. I thought he was good, and I think more of the scene the more I think about it. I just think the whole construction of the scene was off-putting in a way that made me not as able to connect with it. Maybe I was just a little too distracted this whole episode though. I think I should put most of my reaction to this particular episode on myself, not necessarily the quality of the episode. I was pretty distracted throughout, and I've never been invested enough in the lore of the series to be immediately grabbed by new information. I've seen some discussion of the lack of breathing room any of these new characters are getting, and I really sympathize with that frustration. I would've appreciated some more time with Bill Hastings before we got to this emotional peak. It just fell flat for me.
  11. I feel like Episodes 7-9 have created this trilogy of high highs and then just the lowest lows. I thought Episode 7 was really fun. All the threads were moving forward, and they were tied together by interesting scenes and good acting. Episode Eight was this cosmic detour that advanced the lore of the Twin Peaks universe in a direction I totally wasn't expecting, but it was made up of really amazing filmmaking, visual effects, music, and some great acting. This episode, while I'm sure is doing something for fans of the story both of this season and the series as a whole, was such a let down. Stuff happens, lore is dispersed, and except for a few really standout scenes I was bored the entire time. The highlight of the episode, for me, was Cooper's little awakening when he sees the flag. That was fun and an interesting way to keep feeding Cooper elements of his old personality. As someone who just isn't willing to keep up with all the threads of this mystery, this might be my least enjoyed episode of the season. Also, the whole interrogation of Bill Hastings was just not good. I do not understand why all the dynamic actors were put on the other side of the glass and we were forced to watch Matthew Lillard bounce off of Chrysta Bell.
  12. I just finished the book. For the most part, I really liked it. I'm angling to read Blood Meridian for the first time next, so I was hoping for something a bit lighter before I dive into that, but I enjoyed this book a lot anyway. It's a pretty grim read, but in a way that's so pulpy and gothic that it reminds me of the TV series Hannibal and that really eases the burden of some of the content in the novel. The biggest problem I had with the book is the cuteness or somewhat forced symmetry of the plot. I liked the way that all of this information is introduced and slowly tied together, but at the same time once the main course of the story was completed little details like the discovery of Jennifer's true killer and Agnes leaving the ring in the same way Eileen found it was just a little too tidy and unnecessarily cheeky for my taste. I'm excited to listen to the podcast now that I've finished the book!
  13. Yeah, this is the first time I've been told I know what I'm looking at. Anyway, here's a gallery of high-quality Episode Eight screengrabs from the Twin Peaks subreddit. I'm a decided screengrab fan. My biggest interest going for is Lynch keeping up a steady supply of interesting imagery and design, and worry about the implications of the lore much later.
  14. Sometimes I wonder what would've happened if Showtime called Lynch's bluff when he said he wasn't going to do the show and somehow got someone else to do it. This hypothetical is inherently strained because I doubt such a project would ever actually get done, and the cast and fan reaction would be horrible, but I also am not sure people uniformly knew what they were in for when Lynch got a big budget and double the time. As much as I want Lynch to be the guy who tells complex and nuanced interpersonal stories, that's probably not him. Mark Frost probably has input, and he probably worked with him trying to give this story volume, but deep characterization has never been Lynch's ballgame. I think a lot of trouble he gets into as a writer springs from his education and background, his emphasis on the power of symbol and image and sound. He's a cold director. I'm not really walking away upset from however this new series decides to twist and turn the original characterizations. This episode, and the opening episodes of the season, are absolutely what I'm here for. I want Lynch to run wild and build his big, ugly symbology, be as cold and inhumane as ever. It will probably weird me out and piss me off, but that's what I expect. The way he chooses to speak about humanity just doesn't usually come from dialogue or characterization, though he has his moments. Also, one last thought -- what are the odds on us getting a Stephen King in The Dark Tower situation, where Gordon Cole is actually very literally playing the role of David Lynch, the liason for the author. What if the actual story of this season is Gordon Cole going from "I don't know what the hell is going on" to lore master Gordon Cole. Laura Hudson still remains one of the few people able to match up with this show in terms of understanding how it tries to short circuit rewatch culture. Her write ups are so good.
  15. I'm not big on TP lore, but before this season I had always operated under the assumption that the beings in the Black Lodge were sort of at a remove from humanity, and that their motivations only occasionally intersected with what happened to human beings on earth. This assumption, when I think about it, isn't based on much be more than my read on how a lot of scenes in the Red Room and with The Giant are presented. Still, I'd be lying to say I feel absolutely nothing wrt my assumptions about that being dashed. The Black Lodge realm seems super invested in humans, maybe to a fault. This episode did seem to be a really tight pairing between Frost and Lynch in a way I really can get behind. I think we are right to label Frost the lore king of Twin Peaks, especially since Lynch always seems to be more mecurial and spur of the moment in his creative process. I thought it was an exquisite and bold exposition vehicle, with absolutely CLASSIC Lynch sound design. There's lots of bombastic sound in this episode, but my favorite might actually be the moody, droning tones that accompany the whole Mr. C resuscitation sequence. Really unnerving and understated. Regarding the existence of evil before the bomb, I'd argue the point of making the bomb the forking moment is the level of power humans have now harnassed. Obviously, WWI and II were no slouches on the weaponized destruction front, but the amount of potential destruction behind the bomb was unparalleled. The general evils of humanity now had the access to the most powerful weapon ever, one that crystalizes every abstract single threat into something huge. I really enjoy that the Question Mark Guy formally known as the Giant viewed the exact footage that the audience does on an old fashioned projector. Showtime should really just put up the episode we will miss next week online.