Persistence of 3

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  1. For what its worth Mark Frost retweeted that Twitter post. Casting Jeremy Davies as the other henchmen —in this light— is a great bit of misdirection. Since he's the more recognizable of the two our attention is apt to be more on him thus allowing Lynch to hide Ronnie Blevens in plain sight.
  2. I'm in the midst of a rewatch of 3 right now. Day one I did six episodes, days two and three were 3 episodes in a sitting. I'm finding that it's pretty tight the second time around. One has a greater sense of what takes place in a story day (2-3 episodes seem to cover a story day compared to the original series which was strictly one story day per episode). Knowing what's going to happen and which characters are recurring and which are incidental can't help but effect the way one takes in the story. The overall effect is leaner and not as rambling than my initial impressions. I'd say a second veiwing is essential to appreciate what's going on. Already halfway through and really my only nagging question at this point is who exactly is claiming to be Phillip Jefferies when Bad Coop makes the call from the skanky hotel room? Was that ever explained? I don't think it was so in that case my suspicions lean heavily towards Albert.
  3. It can be problematic presenting a case for the lapel pin given that we're talking about a franchise which capitalized on a production error to create Killer Bob. Mr Lynch has given us precident after all. That said, I think this is different. At some point in their discussions Lynch and Frost had to have realized they couldn't tell the story they wished to tell unless Cooper's lapel pin disappears. So they dispensed with it at the most convenient time. I'd go so far as to suggest the business with his shoes left behind —despite the ubiquitous talk of shoes in the original run— was a big misdirect. Look there not here. Later, Dougie/Coop seems to understand perfectly well that his pin is missing and appears to be telling us that each time he reaches for a lawman's badge. Once it was established that there would have to be scences establishing the pin and scenes without then it would fall to the costume department to monitor where they were in the story and how to depict Cooper. Yes, continuity errors happen. This seems like something intentional, like leaving the bat symbol off of Batman's cosutme. It's kinda conspicious when you think about it. Of course one could wonder whether or not the opening black and white scene with Cooper and the Giant was scripted for the opening or whether it was something that was found later in the edititng room.
  4. An observation about Cooper. In the original series as well as FWWM when we see him in his black suit he's always wearing his FBI lapel pin. This isn't always so in the Return. In fact, the only time he wears his lapel pin are during the Lodge scenes prior to his exit through the #3 socket. So it wasn't just his shoes that didn't pass through to the other side. As an imperative of the narrative this makes good sense since Jade, then the casino operators and everyone else down the line would have noticed and reacted accordingly. Hookers and gambling operations would certainly take exception to a federal agent. So it goes to pass, through the remainder of the story Cooper no longer wears his lapel pin. Yet, watch part one again. When we see Cooper recieving the Giant/Fireman's clues, Cooper isn't wearing the pin. I think this pretty much establishes how much the story is being told out of sequence. The Cooper getting these clues is the Cooper from the 'end' of the story.
  5. Defintitely at the time. Wasn't aware they were scrubbed for 'the complete mystery' set.
  6. Both season 1 and 2 ended with a card that read 'TO BE CONTINUED'. Season 3 did not. Plus, the aforementioned absence of electrical sound over the final Lunch/Frost logo suggests to me that its done.
  7. Well it certainly could explain why the Lynch/Frost logo at the very end appeared without the electricity sound.
  8. Those were great moments. He treats Mike like a cohort. When Cooper plucks his hair and asks about the seed, it pretty much demonstrates how very much aware of what's going on and how things work.
  9. I think the reason that Coop got out of his hospital bed, raring to go (aside from that being a call-back to Coop getting up from his hospital bed after being shot in season 2) is because he's got a schedule and a plan to fulfill. It seems as though all that time in the lodge(s) wasn't spent sitting in a black chair waiting but rather taking meetings with Mike and the Giant and any other entitity available to give Cooper the lowdown to help him understand what was necessary to make things right at the soonest available opportunity. It just so happened that the next opportunity was 25 years later. Twin Peaks, The Return pretty much opens with Cooper in conference with The Giant, who, in his eliptical way, was pretty much explaining to Cooper what needed to be done. Mike seemed to be there every step of the way offering all the assistance that he could. It all may have made little sense to the viewer but it made perfect resonant sense to Coop and his subsequent actions once he was (finally) awake described someone fully briefed and ready to go.
  10. So, just spitballing here but is it possible that Janey-E is really Dianne? I wish I could connect those dots in a clear way but I can't. That said, we're taking the word of Tulpa-Dianne that she's her sister when she may be using the term metaphorically.
  11. It appears as though we've gone a full cycle with the colors on the show. Roughly the first third of the season the dominant color note was yellow (Jade's jeep, Janey-E's phone, The Giant's orb, etc.). The second third featured the color red (Major Brigg's chair, Cherry Pie, red shoes, etc.). Episode 14 appears to have announced the final green phase in the sequence when Dianne stepped out dressed all in green —usually her attire is a wild combo of these three colors— and sat in a green chair. And let's not overlook hand in the green glove. I don't think it's possible to ascribe literal meaning to the colors but ever since the recurring motif of the traffic light at Sparkwood and 21 of season 1, Lynch has been promoting the idea that moments in time are transitioning from one phase to another analogus to the light and color of a traffic light.
  12. Twin Peaks Rewatch 44: The Return, Part 9

    So, the colors are changing from yellow to red. The Lucy / Andy scene underscores that. Janey-E has gone from yellow to pink twinsets. Dougie drinks from a red mug and then is distracted by a passing pair of red high heels. Major Brigg's chair is upholstered in red. If the traffic signal at Sparkwood and 21 is any indicator of the tonal range of moods in the story it's only a matter of time before the color emphasis shifts from red to green.
  13. Twin Peaks Rewatch 42: The Return, Part 8

    Note to self, don't post hungry.
  14. Twin Peaks Rewatch 42: The Return, Part 8

    "We lived among the people. I think you say, convenience store. We lived above it. I mean it like it is... like it sounds." Yet the convenience store doesn't appear to have a second floor. If it's the same convenience store, that is. What if was the timbers which held up the roof of the store that was where they lived? Inside them. Like insects trapped in amber. Perhaps, like much of the west and southwest, the convenience store was built with wood from the environs of the Pacific Northwest --or in this case the area around Twin Peaks specifically? That somehow spirits trapped within the wood were released by the events of Trinity? Might begin to explain what "woodsman" were doing wandering a desert region? [sp]
  15. Twin Peaks Rewatch 41: The Return, Part 7

    RE: the Phillip Jefferies scene in FWWM I feel like the key to that scene is in the opening lines. Cooper approaches Gordon Cole's desk and rather earnestly says (as if to remind Cole) that it's "10:10am on February 16th". On it's face the opening to this scene plays like several others in the movie --with a pointed and obvious establishing note. Another outrageous example of this is a cut to Leo and Shelly in thier home as Leo shouts, "This is where we live Shelly". On one hand it's a funny and quirky economy that Lynch employs throughout FWWM to establish various scenes but what if it's also a mis-direct? Because on the other hand, with the Jefferies scene here's a moment that seems to suggest that Cooper --and even Cole-- have been anticipating 10:10am on February 16th. Now that it's here, the thing they suspected --or perhaps knew-- would happen, is happening.