KaiserAullirio

Damn. I really thought that Lynch and Frost just wanted to portray Audrey's life as a special kind of hell, but after this episode... maybe she is hallucinating or in a coma. Mulholland Dr was supposed to be a script about Audrey, right? I don't wanna spoil that movie (as if I could), but an existential crisis seems in-line with that. I'm not even going to try to predict what that could mean, tho. And That Sarah Palmer scene really brought home for me how they have done a stellar job this season representing substance abuse. The boredom in that scene paints alcoholism in a way that you rarely see. And while there have been a lot of hard-to-watch scenes this season, they have done an admirable job of representing substance abuse as something ugly that can be strongly tied to domestic violence, though I think it's important to remember that it doesn't always lead to that. It's also clear to me now that, in the beginning, when we were all thinking of this as an 18hr movie, that it's far more than that in the sense that it's a tv show playing with different media conventions. This series has found it's pacing somewhere between a novel and a photograph, and I can't say that all other media will follow this example, but I'm glad that they are free to experiment. And the way that the Audrey puts so much dramatic weight on the Roadhouse performance... then we get what we got... some might say, the best scene Twin Peaks has ever produced. I can't wait for the final scene of this season, when Norma's boyfriend drops in on the Renault cousin to tell him how "Renault's Roadhouse" is the most popular music venue in the Pacific Northwest and how he should change it's name to... "The Double R," after Norma gives in and changes her diner chain to just "Norma's."

Yeah, it was funny. Few of my mistakes get broadcast to the world, and at least you guys imagined a funnier version of the scene; so I apologize for being one of the many to point it out. Such is the internet. Damn that's a good catch. It's like a more advance version of Dougie's parroting. I'll be very surprised if she's not someone's agent. She served Dougie that pie... I wonder if she slipped something in it? Good or bad. And while I think she's got more going on, I don't think she's going to be a vessel for Laura because, for the audience, the arithmetic of hearing her say the lines and then imagining Sheryl Lee say them would take the punch out of any possibly great moment so much that it would be pointless to have Laura's spirit return at all. My suspension of disbelief can much more happily handle, "yada-yada, Mike and the Arm made a body for her to come back to take out Mr.C+BOB and it looks almost exactly like Laura Palmer, yada-yada." That is, if this idea that she'll come back in the orb has anything to it at all.

My bold prediction: Candie will say the episode title this coming week: Let's Rock! And I think that long shot on Cole looking into The Zone was important because it fortifies the theory that Jerry Horne is interacting with some sort of lodge element. If our ability to see supernatural elements depends on whose perspective the camera is with then he may actually be tapping into something (that is, besides weed, obviously). Side theory: I love me some Chris and Jake. Like LOVE listening to them--I'm always excited to hear their perspectives--Wish I was as articulate as they are--and MAYBE I heard them wrong, but in this most recent cast, they kinda seemed mystified by Rodney Mitchum having a band-aid on his cut--like they didn't even know what it was... is it possible that they don't know what a band-aid is because they're actually lodge spirits who heal overnight with the help of Dugpas? A new head-cannon develops.

Of all the characters I've been excited to see interact, I didn't think Albert and Constance would have my favorite interaction so far (but damn-near tied with Diane interacting with anyone). And that Betty Briggs scene was really well acted. It could have Just been explosion setting up the Garland breadcrumb-trail, but the acting made it sing. The range Lynch is getting out of his actors is great this season. Some good Badalamenti this episode too!

So, it's probably foolish to talk about that episode without some distance, but off the top of my head... Twin Peak's answer to Origin Stories: Lynch terrifies us while Frost gives up just enough to know how it might have happened. Some impressions from the episode: Lingering on the moment of annihilation and holding on inside the explosion were not only naturally tense experiences, but it was also a meditation on our ability to destroy. The moment with the hobo at the car, and the girl letting the boy kiss her were moments asking us, in a world where our capacity for devastation has been demonstrated, how do we trust one another? And the final moments, when the people accepted the unusual broadcast into their homes, and the girl left her window open, they stand as a warning that however people chose to live their lives after the bomb, whatever philosophies they adopt, however many blind eyes they turn, the facts of humanity's new found power will work over their psyches whether they know it or not. I know I'm starting to sound like a sophomore writing a simple essay on symbolism in allegory, but I wanted to lay out HOW the beats of the bomb sequence affected me and left me with the feeling that something DID happen because of the impression it made. Twin Peaks has always been, in part, about people's ability to hurt and how they chose to live in the face of menace. So if there ever was a good place for this lore to start, I think they picked it, especially considering both creator's ages. Lynch's mother would have been pregnant when the bombings of Hiroshima and Nagasaki happened. What she must have thought about bringing a life into the world in that moment! I could criticize a few things about the episode (a laugh woulda been nice), but nothing ruined the experience on the whole; and nothing beats the sick pleasure of being disturbed by Lynch's filmmaking. I really dug it. #frogroaches