marblize

This seems to be the case. I think when they were questioning Bill in the back of the car about what he had seen, he couldn't remember.

This makes sense but I thought of it much more as a woman channeling some kind of frantic dark energy in the way she was jumping from topic to topic midsentence rather than a woman being shrill and hysterical. To me it felt sinister in an interesting way which made me feel for her. Idk. I'm also finding that each story thread features one or more women that are often as or more interesting than the men in those threads ¯\_(ツ)_/¯

So as mentioned before, here's Hastings/Albert/Gordon's view of the woodsman behind the house followed by Diane's view of him. I love this show's creative use of dumb barely-effects so much.

And Gordon's dialogue is so suspiciously bad-actor-y in that scene. "YES... THE PICTURE YOU TOOK OF RUTH... I WOULD LIKE TO SEE IT, ALBERT."

i loved the episode this week, the analysis was deep and on point, but this was a really funny miss. tbf though pulling a prosthetic wound off would have been great. I forget if I already wrote this here but I interpreted Candie talking about traffic as a continuation of her talking about weather last week, like she's a newscaster. Is it possible the violent trauma she inflicted with a TV remote is somehow making her echo the newscast that was on, or is somehow making her tune into some other frequency?

I think the POV shot of her seeing the woodsman behind the house was literally just a horizontally flipped version of when Gordon and Albert saw him which makes no spatial sense, lol. Maybe that plus the 'getting out of the car' comment means she's experiencing some things in reverse? Could this mean she thinks bad coop is good coop? I guess that doesn't really track with the traumatic prison interview though. And regarding her not saying anything when it was sneaking up, I get the vibe that people don't necessarily understand what they're seeing/remember what they're seeing even in the moment when dealing with woodsmen. This could account for Hastings not saying anything about them until prompted and then just saying stuff like "So many people!" instead of anything very concrete. Though then we have Gordon saying DIRTY BEARDED MEN IN A ROOM

That's why I'm saying I wouldn't buy it at all if it were simply a fully fantasy Rosanne dreamland - there are way too many details happening that have nothing to do with Cooper. But I think it could be taken an interesting direction if all the stuff we're seeing happen was somehow still literally happening on top of the aforementioned. Again I'm not rly buying it regardless, it was just a reddit post that scared me, lol.

It's certainly a dumb theory but I think it could be pulled off if there's some time fuckery rather than some Rosanne shit ¯\_(ツ)_/¯

I saw a theory on reddit that:

wasn't that clip from a number of years ago? i think he may feel differently now. NuPeaks is pretty much a perfect show for phone viewing with headphones in a dark room. I feel this way about Kurosawa's Pulse too. Both dealing with technological ghosts of sorts.

Yeah when Gordon started slipping away into another realm Albert was quick but seemed really casual and calm about pulling him back lol

I think it's great, and the show clearly both courts and trolls this sort of behavior imo, what with thesearchforthezone.com and all the reversed bits of footage etc. Also on reddit I've seen a lot of silly minute detective work turn into discussion involving deeper critical analysis, which is not something I used to see as much on the GoT subreddit when I frequented that one for instance. edit: whoops, the quote-copy labelled this quote as the wrong person, sorry!

I thought it was that the cop was at Big Ed's when he heard the RR shots fired.

I've been watching on amazon fire tv the night of and i don't think the thumbnails go up immediately? i think it's just a generic twin peaks graphic until the next day (thankfully!)

I said 'in a vacuum' precisely to look at the scenes as individual scenes, the context ties are part of my point. Knocking the new scenes for their apparently tenuous (at the moment of the episode) plot ties and rawness implies that horrific violence 'works' as long as it has better plot ties and better aesthetics, which seems iffy to me. I think both can have their place depending on what the work is doing. I realize I'm strawmanning a bit since I brought up the Maddie stuff. But I think the violence here being less lyrically stylish, sensical, and narratively 'pleasing' than in the original run might be interesting in and of itself. Maybe my calling it 'interesting' is fucked up, idk. I keep going back to Sarah Palmer being fascinated/horrified by the lion eating the water buffalo. edit: I'm not trying to lay a gotcha trap or call anyone bad for having any of their opinions, just kind of working out why I don't find it to be a shitty violent subplot.

As a fan of Inland Empire I'm pretty much immune to any potential self-indulgence from him and I don't think the violent substory is shitty at all. Did you guys have this much trouble with Maddie's death scene? In a vacuum it's much 'worse' IMO. Are people able to handle it better because its plot ties are more firm? Because it's more aesthetically expressive? Because there's a supernatural being to directly pin it on?

not sure if this has been posted but the song playing behind "Hello Johnny, how are you today" was Charmaine, also prominently used to torturous ends in One Flew Over The Cuckoo's Nest

What about Bad Gordon? I rewatched the original DoppelCoop in prison interview and Gordon's strong insistence that he be given his phone call read as maybe fishy to me in hindsight...

Whoa, I did find the Inversion stuff upon googling but this made it click with me that her gesturing toward the AC's or w/e was like a weatherperson pointing stuff out on a bluescreen tv studio map, which fits with "it's gonna be hot and smoggy tomorrow"

Whatever she was saying it seemed to me like the violent trauma she caused threw her into a bizarre state, crossing all her wires. The talk about the "Version Layer" and the weather felt somehow uncanny and creepy to me. I assumed she was talking about another dimension approaching ours tbh.

I haven't listened to the episode or read much of the thread yet but it seems like this question can be approached from a place of puzzled curiosity or a place of "this is dicey for now unless there's a payoff later," (or both). I'm sure I'm being reductive with the latter statement. I just think the former mode lends itself to rhizomatic thinking which can lead to deep interpretive connections and revelations. But I guess one can be overly forgiving operating within that. Of course social criticism is valuable as well, and if the scene makes people uncomfortable in an excessive way that they find detrimental to the art, that experience should for sure be noted.

How does the fact that the man Janey-E is fucking is not who she thinks he is and he just goes along with it figure into this? Seems like consent is dicey both ways if we're going to have this conversation. (i'm more prone to find the scene funny, touching, and sad)

erm yeah I'm pretty sure 'sleeping' is a euphemism and i doubt we'll even see any more of this farm this is a really good piece: http://filmmakermagazine.com/102922-like-sand-through-the-hourglass-twin-peaks-the-return/

ya I think when badcoop arrived he asked hutch where the farmers were and he said something like 'ohhh, out back,' in a clearly mischievous way

Thanks! I used VirtualDub and Avidemux with this tutorial. Also used some web youtube downloader and then premiere to cut up the clips but that step can be done other ways, probably within the former two programs.