The Great Went

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    The Great Wentz
  1. I've been watching the Sopranos and recently saw the "Kevin Finnerty" episodes that open up Season 6. There are some definite parallels between the end of the Kevin Finnerty storyline and the final scene of Twin Peaks The Return, in my opinion. I hadn't really thought that Laura was "The Dreamer" and didn't really take much stock in who the dreamer was supposed to be, if anyone, but after watching this pair of Sopranos eps I'm fairly convinced that the dreamer is Laura, and content to believe that perhaps the entire series is a dream/hallucination she's having in a coma or on her deathbed. Final Dossier notwithstanding.
  2. Also, what's with Asian people in Twin Peaks actually being white women in disguise? Twice in one show, whereas the average is Never Ever.
  3. When I rewatched the first two seasons I actually skipped the pilot at the beginning and watched it after the end of Season 2. Pretty cool, considering the replication of the dialogue from the Bobby and Shelly Double R scene. Then I watched Fire Walk With Me, and I noticed that the dialogue in the scene with Laura and James (and repeated in Part 17 of The Return), is basically taken word-for-word from James' recounting to Donna of his last night with Laura. I think it's really interesting, and fitting with the figure-8 structure Jeffries hints at, that this dialogue appears in the pilot as a recollection by James, then in Fire Walk With Me as an active scene, then is revisited and sort of remixed by Coop at the end of The Return. Would be interesting to watch the last two eps then fire up the pilot again, or watch FWWM, then the pilot, as a kind of constant loop, forever. I'm not gonna do that, though, I have a family that needs me.
  4. I've seen a theory that they're this Nazi Bell thing that was supposed to channel another dimension or something, but pictures of the nazi thing don't really look like these things imo. Jeffries, to me, is definitely in a tea or coffee kettle of some kind, albeit one whose shape evokes the shape of those white lodge bell things.
  5. Yeah, she tells Coop/Richard in the car "I tried to keep a clean house... I was too young..." Very similar to Shelly's relationship with Leo. Leo would say things like "A man needs a clean house" (I think he said this to Bobby in Episode 2) and is showing her how to scrub the floor in FWWM. Did anyone else notice the weird thing sticking out of the dead guy's stomach? Evil Bob Orb?
  6. I haven't re-watched but yes, I got the sense that once he exits the lodge in Glastonbury Grove for the "curtain call" he's changed and from that moment forward there is something off about him. I had a theory when I woke up yesterday that since Diane's experience with Coop post-curtain-call may be analogous to the experience Naido has with him in the, what are we calling it, Purple Room? Naido is available to Coop and helps him find the right portal to another world (the 430 mile mark for Diane), but in the process she loses herself (falling into deep space after pulling the lever for Naido, disappearing into the alternate dimension and becoming Linda for Diane). There was someone who mentioned that the way the conclusive scenes were filmed were very corny and mocking of the audience. I think they were intentionally cheesy (I thought Coop's encounter with Naido in Truman's office was lit and shot in such a way that it was weirdly laughable to me) but not that it was really mocking the audience. It had the air of some kind of Scooby Doo ending, where everyone gets together and it's all supposed to be okay, so the chipper lighting, staging, costumes contribute to that, but overlaid with Coop's face and the knowledge that it can't possibly be that simple, considering the magnitude of themes involved: rape, incest, murder, good and evil in essence. If Coop hadn't acknowledged as much by saying "the past dictates the future" or some such, if his head, speaking of living in a dream, wasn't super imposed over so much of the scene of resolution, I'd be inclined to think this was all more cynical then I do. I think Lynch (whether intentionally or not) has a knack for heightening artifice when it can be contrasted against some dark or upsetting idea. He walked the line between realistic/naturalism and theatrical stage-set artifice in the murder scene in Lost Souls and I think the same thing is at play in the Episode 17 resolution. I don't think this was a perfect season. I do think there were some weak points. I think it probably would have been a stronger show if maybe the Audrey stuff just wasn't there in general, and considering how there's no mention of Annie or Donna despite how hugely important the lodge and the legacy of Laura is to this season, I don't see how that clunky Audrey stuff needed to be there either, but that's really nitpicking. In the end, opening things up to yet more conflict, and the idea that Dale is never going to be the same, all speak to a fundamental respect for the material, and putting a premium on the "truth" of the world of TP as opposed to the demands of the audience. Last night I was talking about how some people felt betrayed by the ending to my wife, and she reminded me how we felt betrayed by the ending of LOST, which tied things up so neatly that it shrank the scale and muted the resonance of the original world the show created. What Lynch and Frost have done with Twin Peaks is the opposite and that alone is amazing. There are things I would have liked to have been paid off, but I'm basically satisfied and, in a way, heartened by the conclusion we got, and I will be fine if this is the end of it.
  7. I don't know if it's my computer or what but it looked a whole lot not like teenage Laura Palmer and I just figured they CGI'd "youth filter" on Sheryl Lee's face. IMO when teenage Laura Palmer talks to Cooper it was the weakest part of the episode to me, and one of the more over-the-top-but-not-clearing-the-hurdle visual effects. I was bummed that Cooper tried to save Laura, it seemed very naive for a guy who had been through what he'd been through -- and yeah, I guess now I don't understand if he actually Back To The Future'd all of Twin Peaks or not.
  8. Yeah, it seemed kinda like Episode 17 was Mark Frost's finale and 18 was Lynch's.
  9. Everytime Mike said "Electricity" I thought of this song:
  10. One more thing: I was watching the show on my iMac with headphones on and my dog started barking when Sarah stabbed the photo of Laura and it scared the hell out of me. I paused it, calmed him down, gave him a snack, figured it was something outside that bothered him, put my phones on and started the scene again. He immediately started barking again! One One Nine!
  11. A few thoughts --- the (doo wop?) song when Diane and Coop/Richard are doin' it is a call back to the Ed and Norma scene only this time it's evil. Also reminded me of the scene of Naomi Watts getting onanistic in Mulholland Drive. Once Coop gets out of the red room for the "curtain call" with Diane he acts more like Mr. C but he also has generally good intentions. So he disarms the yokels assaulting the waitress with cold automaton efficiency and scares everyone enough to get the address he needs. ... But he also just leaves all those guys there, so he's not really out to help the woman, it would seem, in a sense that the old Coop would be. Also, obviously in the motel room scene he apparently has no feelings. Interesting and telling in 2017 that Coop has destroyed but also synthesized his doppelganger with himself, effectively dimming if not extinguishing the light of virtue while on the hunt for an extreme evil. Reminds me of that old "look into the abyss and the abyss looks back into you" chestnut or however it goes. I'm grateful for another ride on this Crazy Train. Pretty much ended with exactly as many loose ends as Season 2 it would seem.
  12. Dudes I watched 17 hours of this show before remembering it was a David Lynch joint. Whoops.
  13. You and I must have been watching a different Twin Peaks. BOB starts having sex with Laura when she's 12 years old. Leland was depicted as a total mess. At best he's struggling unsuccessfully with an undiagnosed bipolar disorder or some such. The dinner scene in FWWM where Leland demands to see Laura's locket, and in which BOB is never indicated to be present, is horrifying. He makes amends by being a blubbering apologetic mess. He's an emotional terrorist.