Jake

So so good. As usual I'm bowled over by the quality of the trailer itself and how overwhelmingly awesome the games featured are.

I noticed that too. She has a modern phone and seems to ignore it to call Hawk on that old corded brick phone. I love it.

Idle Thumbs BONUS: Ruination Online April 2017 Enjoy this bonus episode drawn from our Idle Thumbs Patreon Ruination Online! Each month, we do a livestream where all topics have been posed by high-tier backers of our Patreon campaign: patreon.com/IdleThumbs. This month it's a lightning round: two minutes an answer for maximum efficiency. Due to popular demand, we're releasing the audio of that stream to the main podcast feed for easier listening. We'll be back with a regular episode of Idle Thumbs next week! Discussed: The future of VR headset adoption, indie comic books and adapting comics to other mediums, the origin of the "baboo" sound, making an RPG character sheet for yourself, Legion, vowels, visiting and living through an event from history, the moon, Lord Nelson's final words, what makes for a good ruination question? Wizard Jam 5 is coming up! Wizard Jam is the Idle Thumbs community game jam. It's a two week long non-competitive game jam with a great group of people organizing and participating. If you're interested in trying your hand at making a game, joining a team, or just following along, visit the Wizard Jam 5 forum. The jam starts June 2nd! Listen on the Episode Page Listen on Soundcloud Listen in iTunes

Yes. It turns out Hoisted is in fact the literal IIT equivalent of The Grenade Rolls Down The Hill. We have but one meme.

I don't know why that happened. I'll move it up at least during the lead up through aftermath of the jam.

Maybe evil coop can't survive now that be barfed up all the garmonbozia? I am the wrong person to ask about that stuff but it seemed like in FWWM, lodge people consume it. Maybe without it they become weakened and fall apart?

I agree with this for whatever it's worth. I think some of the mid season 2 visual effects choices were over reaching and not actually good, but the Lynch stuff usually feels deliberate even if it's aesthetically "bad" by normal tastes. I think season 3 showcases the intentional nature of the effects really well because there are traditionally "nice" effects next to the more weird pure-idea/pure-2D-composition Lynch stuff.

I'd felt in the original series like Twin Peaks was more booming 30 years ago but as tourism and logging dried up, the town shrank, and it felt believable. They'd have a school that big and a big old hotel and an aging department store, but the town would be shrinking, not growing. That said, I think you're right. I grew up in a town of 50,000 people and what you describe seems accurate. It seems like they have made some peace with it being a 50,000 person town (which is honestly more likely for a pacific northwest town like that in 2017 than 1990 anyway I think?) and adjusting things in kind.

It really seems like both. Attached: The trees of Glastonbury Grove, some neurons, and the Arm in season 3.

I think David Lynch often just doesn't care if an effect is good as long as it gets the job done and lets his shot be a vehicle for the things that are important to him. I know that sounds flippant or dismissive, but "having a focus you care about while letting other things slip away," is actually common among directors but we are collectively maybe more lenient for some things than others. For example, there are directors who care above all else about the visual effects work in their shots being pristine and seamlessly integrated with what's captured by the camera's lens, to the point that - at times - they don't care if the acting is good, or if their shot is about anything beyond that seamless execution of spectacle. We often give those people a way bigger pass than we give David Lynch. (Or, different audiences will give directors a pass for caring about some elements while neglecting others.) I say this as a person who loves and respects an immaculately performed special or visual effect, and some of the work I'm the most proud of in video games I've worked on are elaborate moments of visual trickery that make people ask "how did they do that," which is to say: I'm not one to poo poo great effects work. I don't think it needs to be an assumed part of every production. A modern "AAA" production in any medium has so many assumed default "must-haves" that you can very easily be locked into aesthetics you don't want if you take them all on board (even putting aside whether your production can achieve them). I don't always like the look of effects in Lynch productions but I respect him and everyone involved for making the decisions to a) take risks aesthetically, and b ) know how to prioritize what is important to them. Sort of separately from the above: Television and film are ultimately a 2D medium. Even though we spend a lot of time watching films and television shows which aim to fool our brains into thinking we are looking through a window into another reality, we are ultimately looking at a flat image projected onto a flat plane. Lynch is a rare person who creates entertainment product that has made it to TV networks and big movie theater chains, and is not exclusively interested in a TV movie screen as a window, but instead as a canvas. (That's more common in animation, especially experimental animation, but more rare in things that start off with a photographed image of reality, and obviously super rare in photography-based work that ends up getting super wide distribution). I'm also not trying to argue that, if/because the above is true, that means anyone has to like it. I'm not sure I like it all the time. While I don't always like what Lynch makes, I do like that Lynch offers a different way of thinking about many aspects of the moving picture mediums - he sees many things as creative choices that can be altered or subverted or thrown out or wielded as tools - which most of us take for granted without question. Sorry if that is all obvious! It took me a while to internalize that myself, at least, and be able to express it succinctly. I also also have no idea if I answered your question at all! I would never make the creative decisions David Lynch does (my brain doesn't work that way and isn't interested in doing so), and he is very opaque about his process so it's hard to get a window into his reasoning. Ultimately his work sticks in my imagination, idle thoughts, and dreams in a way that is very rare.

I thought Bad Cooper might sound and behave weirdly because he barfed out all the garmanbozia? Dunno. I think that Dougie existing was the surprise plan and means that both Coopers can co-exist fine? Cooper took Dougie's place and Dougie took his and then immediately evaporated away. That seemed pretty cut and dry to me. But who knows? This show is all questions. It's crazy that it manages to be loaded with concrete seeming mysteries, given how ethereal it all feels as it's happening.

Oops you mistyped "great" as "bad." Quite the typo to make tbh.

OH MAN fingers crossed that the Log Lady (or Hawk) misinterpreted something her log said and whatever is missing is literally inside that book or something ridiculous like that. I grabbed a still:

btw: The new episode of Twin Peaks Rewatch is out, covering this episode!

I saw it proposed that she may be Lodge related, as 119 (the numbers she recites, unless I'm mistaken) is 911 backwards?

Cooper passed through the box in ep 2 right at the end, and that was my feeling too: that he was being chased/followed.

This totally tracks. (They actually elected a peer which makes perfect sense.)

Yeah they're playing old trailers for The Return before you watch an episode of The Return! I didn't mind those trailers before the season started, but now that I have context, the incidental shots feel like spoilers. It's subtle but annoying all the same.

Sorry about the revealing image. I'd seen it on twitter and Facebook a dozen times before using it for the episode (I actually took it from a tweet) so it seemed okay, but I should have weighed my currently-Twin-Peaks-heavy feed when making that call. edit: I changed the art!

His room number at the great northern is 315. I don't have anything other than that, but those numbers did turn up in that order quite a long time ago (and we're reminded of it when the woman pulls out the key from cooper's pocket thinking he's Dougie.)

Same, re: that spit take. God his face.

I don't know if I buy this when the only act we've seen there is Julee Cruise. I mean, I buy it because it's your opinion! But I don't feel that way about it. We have one real point of reference for the music that plays in that bar, and all the new bands fall in line very well behind it for me. (I found Michael Cera to be really funny. I was worried his presence would suck but that scene felt so legitimate Goofy Twin Peaks to me, including Andy and Lucy barely keeping their shit together.) Also holyyyy shittt Cooper eating pancakes and drinking coffee. Fuck.

ep 2 spoilers as well: We should probably be talking about this in the episode 2 thread. biiinnngeeee tttvvvvv

Id be genuinely curious to see someone try and take the season one/two/FWWM incidental music and apply it to episode one and two. I bet it wouldn't work but I'd love to see it all the same.

All the stuff in the red room has hit me hard so far, with a couple exceptions I'll talk about in ep 2. It felt like Lynch was instantly at home with those scenes, to me, and the actors all came to life in just the right way. Seeing the Log Lady again and the casual familiarity she and Hawk have on the phone was the most emotionally impactful though. Knowing Catherine Coulson passed away between filming her scenes and the premiere made it so sad to watch. (Thst she seemed to be playing the Log Lady as emotionally overwhelmed didn't make it easier!)