pyide

Phaedrus' Street Crew
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About pyide

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  1. That SMB3 happy meal toy talk took me way back. I can't recall the Goomba, but I did have the Mario which was a spring loaded suction cupper thing that would bounce into the air. I remember it because it must have been one of the only happy meal toys that I didn't just toss out with the trash or lose complete interest in immediately. The sproingy action and Mario novelty went a long way I suppose.
  2. It was nice to have some gaps filled in for certain developments as well as a couple of minor or missing characters from S3. Plus a few things left up in the air seemed to finally be confirmed (to no genuine satisfaction, really), but overall I don't think it was necessary to have been written and published. Much of it simply seemed to cover things we already saw and comprehended or could infer from what was on screen.
  3. Box art is pretty snazzy. It's good that Lynch isn't ruling out more in the future, would love to see where it goes from here.
  4. A pin appears again on Cooper's lapel right before he enters the door at The Great Northern in Part 17. And stays with him from then on through his meeting with Jeffries, back into the past with Laura, after that in the red room, still there after the curtain call in Glastonbury Grove, and even into his crossing over to wherever that is, all the way to the final scene of the series. So his meeting with the Fireman where it's not visible probably took place at some point in time before that and after his trip through the electrical outlet in Part 3. It's worth pointing out his pin is back immediately after the scene in the Sheriff's station where BOB is defeated and Diane comes back. Cooper's face is overlaid on the screen and says we live inside a dream, Cooper says he hopes he sees everyone again, and then everything goes dark as Cooper calls out worriedly for Gordon and Gordon yells out COOP! Then it cuts right to Cooper, Diane, and Gordon, all seemingly fine and together walking through the darkness and then approaching the door right after that. And from there on his pin is back, or a different one? I'm not sure what that all means, although I suppose you could at least take the pin's reappearance as evidence that the scene with the Fireman happens sometime before this and after he comes through the socket. Some have proposed that it's happening in the moments when Cooper's face is superimposed, which I could buy considering time seems to stop or break in that moment.
  5. I had forgotten all about his briefcase computer, haha. I should probably go back and rewatch this season in as large of chunks as I can handle sometime. Really curious to see how I'll react to various scenes and threads knowing the outcomes, or lack thereof. Also interested in what new details I'll pick up on, what else I've completely forgotten about, and how it works as more of a whole experience compared to an episodic one. I'd like to get some more distance from it before committing to that, but right now I'm also really itching for more Twin Peaks since it's been a weekly staple that's now missing. Maybe I'll finally force myself to check out the few remaining Lynch films I still haven't seen in the interim.
  6. Yeah, it's great how open it is. As for that one specifically, there's some interesting stuff in there but also a big discrepancy right away for me. He says Sarah smashes the picture of Laura after she screams and disappears in the forest, but that scene of Sarah is actually in between Cooper meeting her and leading her by the hand through the forest and her ultimate disappearance, not after. The editing and order of events seemed extremely deliberate. I'm more inclined to believe it was Judy within Sarah sensing something was amiss as when Cooper initially intercepts Laura, as she no longer dies in that past the moment he literally takes her by the hand away from the meeting up with Ronette, Jacques, and Leo. And then in her extreme frustration at this (witnessed by all the horrific moaning leading up to, and then the photo smashing) for whatever reason, she tries to sabotage their plans by snatching Laura away herself to that alternate existence. With the supporting evidence being the scratchy noise before Laura disappears (it's in our house now) and the bloodcurdling scream. That was not really a sign of her being shepherded in by the white lodge lords to me. And then of course you see Carrie had been working at Judy's, the classic #6 electrical pole near her house, and of course the Chalfonts and Tremonds inhabiting the Palmer house. All on the nose, but eh. A keep your friends close and enemies closer type situation? But then I'm left wondering why she even takes her away instead of killing her again if Laura is her ultimate potential downfall. Unless Judy can't kill her, at least not directly, for whatever reason. With Laura being the glowing orb of goodness or what have you, but she could probably influence her in some way or another. Carrie obviously had demons of her own in that world, and a dead guy on her sofa. BOB / Leland kills Laura in FWWM when she puts on the ring which apparently denies the potential transference or possession. Can't begin to imagine the Judy / Sarah to Laura specifics. I liked Twin Peaks a little better when Sarah didn't have that weird throat gnashing ultimate evil monster in there. Here come the headaches again. The thing is, the Fireman seemed to know all this this would happen as he gave Cooper some tips on where to cross over to this other place where Laura was taken. It's starting to feel like Windom Earle's grand game of chess now, good grief. But then again, we only know he was given that info at some point before Coop and Diane's road trip. Maybe it was even after Laura was taken, we only witness it out of time and space in the show as one of the very first scenes. It's all a mess to me, and I really don't like trying to puzzle it out in this much detail, although I do like reading interpretations like that one in the link now that some time has passed. Just thought that one in particular got off on the wrong foot, but obviously no one is correct here, it's as valid as anything. And that's okay by me.
  7. Good work, gumshoe! Also wanted to say that I really enjoyed the podcast(s). I had been trying to avoid outside interpretations and explanations for a time after seeing the last two parts, but I've been more and more curious now that I've had some time to digest it on my own. It was great to hear what you guys thought as well, and refreshing that you weren't trying to connect all the dots with every single thing that happened like a lot of folks out there.
  8. The year coming from the Odessa population sign, I don't know if those signs are updated that frequently. At least they weren't in the area I grew up in, far from Texas. It looked old and busted, too. So while it may have been accurate to the 2010 census, it could have still been standing there when they filmed some years later. Unless someone from that area set the record straight? I wouldn't put it past this production to be that meticulous and make their own sign. And perhaps my crummy town was just lazy or forgot to update the population and sign. It's a small detail in the episode that was a brief talking point on your podcast but it stands out to me, because we'd drive by our own population sign often, on the side of a main road. And as the years went by the traffic would be worse and new developments were going up everywhere, but the sign still showed the same old numbers. I think it was over a decade before they changed it (correlating with the new census every 10 years or so?) I know people want to figure out the year after hearing Cooper's line, but I don't know if a sign like that could pin it down precisely. Still might have been a reason for showing it instead of some other establishment of that specific location.
  9. That is sort of what it felt like, the brunt of episode 18 not having much in relation to the previous parts and threads aside from the opening scene with the Fireman, which we don't even know when takes place in relation to the other events. Probably doesn't even matter when and where, seemed out of space and time when we first saw it, being so visually different from all previous Twin Peaks up to that point. Even if there's not another full series that continues from there, it would be nice to get a follow up movie that goes deeper into and perhaps out of that nightmare alongside New Coop / Richard and Cassie / Laura. Although I have to imagine Lynch and Frost would be mostly content leaving Twin Peaks on that moment forever.
  10. For the first time in this series I have absolutely no desire to see or hear any fan theories, speculations, or explanation attempts. Right now I feel as though none will be good enough and most everything could make me think less of it, haha. I have to avoid the internet for a while I suppose. At least until my dumb ol' brain can parse some of this on its own.
  11. Cooper would have recognized Candie / Diane immediately, no? After waking up and riding in the same limo as her to the airport of course, but even seeing her before in full Dougie mode would have triggered something in him, surely. I'm not sure how people are trying to reason that one, aside from the anagram name game that doesn't exactly fit. And we know Diane looks like Laura Dern's character because of Albert and Gordon's acceptance of her from the start. And the tulpas we've seen so far have shared the looks of the original in some way. I think even Naido as Diane is a stretch but since her face is covered and scarred and we don't really know Diane's original hair color or anything, it could still work.
  12. We know he wants the other Cooper dead from all the hired goons he sent after him, so he must also know it's Highlander rules and there can be only one. Other than that, following some leads into his own mysteries it seems. I'm not sure what the coordinates from three separate sources are for beyond something to do with the experiment? He does say early in the series that the thing on the card is what he wants. Then there's the glass box which could not contain it and all that. It seems as though he was just using Richard as bait in case that location was a trap. The fake Diane possibly seemed to be hoping he would have taken the bait himself as she was visibly distraught by his message afterward indicating he was fine. So perhaps she was in cahoots with Jeffries after all to take him down? Or were her coordinates the final set, the non-trap from Ruth's arm also pointing to somewhere near Twin Peaks? Who did he get all the coordinates from again? Just Diane and Ray and Jeffries? Or someone else in there? It's all kind of a blur right now. Also, if he had not run into Richard shortly before that, would he have checked it out himself? Could have eventually grabbed Jerry who was nearby, I suppose.
  13. I assume the electric shock zapped him out of it, similar to how the shock of passing over fried his being and put him into it. But the last shock was strong enough that it also knocked him into a short coma. I'm not creative enough, just going as simple as possible for the explanation here. I assume the whole coma thing was just another fakeout to end all fakeouts. I'm really curious about MIKE now, more than before. Just what is he getting out of all this? He's been leading Dougie Coop around from wherever it is he exists by popping his red room waypoints into the real world. But to what end? Does he just want BOB back? Does he not know BOB was excised from Mr. C? And apparently he can also manufacture these "tulpas" with the seeds and some DNA? And can reach into reality from basically anywhere to exchange items (the owl ring and the hair). Of all the mysteries and transpirings in this series, MIKE's motivations, powers, and end goals are the most baffling for me.
  14. Holy crap, amazing episode all over. Gonna take some time to process all of it. Wow.
  15. Not quite. Richard says that he'd seen a picture of him, in a photo that his mother had. He knows he's FBI and his name is Cooper, but anyone related to Audrey or the investigation at large could have told him that if he asked who was in that picture as a kid, having never seen him before in person. There's no dialogue saying she told him these things, the vagueness seemed deliberate. And aside from her scenes with Charlie, the number one indication that something ain't right in Audrey land is from back when Richard went on his murdering rampage. The sheriff went to Ben Horne to drop that info, the grandfather and not the kid's own mother. Even though apparently she is in Twin Peaks and desperately wanting to go to the Roadhouse. Maybe we didn't see that scene and they were just trying to play coy with who his parents were all along, I can't say. I am still on the coma side of things at the moment, but who knows?