Jake

Twin Peaks Rewatch 52/53: The Return, Parts 17 and 18

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Lynch answers something. Jeffries is not a tea kettle.

 

https://pitchfork.com/thepitch/david-lynch-interview-on-bowie-and-music-that-inspired-the-new-twin-peaks/

 

Also, an intersting interview with the real owner of the Palmer household and how she came to star in Part 18. Mindblowing that Sarah Palmer watches that disturbing stuff on their actual TV.

 

http://www.vulture.com/2017/09/twin-peaks-laura-palmer-house-real-homeowner-mary-reber.html?utm_campaign=vulture&utm_source=tw&utm_medium=s1

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I really enjoyed the finale when I first watched it as a beautiful experience, but last night it finally all sort of clicked in to place for me.

 

A couple things to preface my following interpretation with, I can't find the quote so I might be misremembering/it may never have been said, but I remember someone on the creative end saying something along the lines of "once you're in the Lodge, you're always in the Lodge."  We've also experienced all of Twin Peaks linearly through Agent Cooper, possibly with the exception of the opening FBI bit of FWwM.  Even though FWwM is a prequel, we are following Cooper's story linearly as we see him post Episode 29 interacting with Laura in the Lodge space.

 

The other things that cinched the following for me are the fact that everything we see in the "past" is in black and white as well as something that may be a continuity error, but I'm not sure, which is Cooper's FBI pin.  He doesn't have it during his visit with the Fireman, nor during his time as Dougie through his transportation out of the sheriff's station, but then has it back when he goes to "rescue" Laura through the end of the series.

 

With the above in mind, I think that Cooper and Briggs(I think Diane is also included in this because she was trapped in the Lodge, but Gordon does not know that), both in Lodge space outside of time, worked together on a plan and somehow met with Gordon to fill him in and set up their plan.  We now know that Gordon knew that Jeffries was no longer himself in the traditional sense, so he has either seen or been filled in about Jeffries.  So, these men come up with an inherently flawed plan because they have an overall altruistic goal of defeating the mother of pain and sorrow, but being human they each have their own goals in mind as well.  I think the personal goals are Cooper wants to escape the Lodge, Gordon wants to save his missing agents, and Briggs wants to prove that love is enough(that's just a guess with nothing to back it up because I'm not sure what Briggs really wants).  And their personal motivations and higher goal were exploited by the Fireman to reach his own end goal.  The passage below is a condensed version of what Doug Milford shares with Briggs

 

Quote

And don't believe anyone who tells you this all began in Roswell in '47.  I'm convinced now that whatever I've glimpsed or encountered and spent my life tracking has been with us since humankind came down out of the trees.  It is not something "out there" --in the president's words.  They may well have once been our "neighbors from some distant star, but I believe they were here before us.  .............. These final truths you must never forget: we are utterly incapable of knowing their true intent, and their true intent may not be to wish us well.  It may be that they're here to guide or even aid our evolution; it's equally possible we may matter no more to them than those random protozoa in our tap water do to us.  In other words, by our meager moral definitions, they may be both "good" and "evil", and those precious distinctions of ours mean nothing to them.


That passage points to the Fireman having his own non-understandable goal, but my figuring of it is as follows.  Judy is a force that needs to exist in the universe, you can't free the universe of pain and sorrow, but our detonation of the atomic bomb essentially created an overload of garmonbozia causing Judy to vomit out all of the eggs and BOB(the embodiment of the evil that men do), as well as forever connecting our universes forever through the past before the detonation and after.  BOB, being created from a place of pain, sorrow, and human hubris, has that hubris ingrained in him.  I think he wants to usurp Judy and that is not something that the Fireman wants, because BOB isn't about balance and the universe would be flooded with garmonbozia.  I would also posit that BOB uses Cooper's doppleganger as a host because Mr. C is on the same mission as Cooper(since he is his shadow self and borne of him) so they are working towards the same end of destroying Judy, they're just arriving at that want for different reasons.  So the Fireman creates Laura as a trap for BOB and exploits the Blue Rose team and Briggs to achieve his end goal of dissipating and weakening BOB(I'm not convinced that Freddie defeated BOB or that any Lodge entity can be destroyed) to restore the order of the day.

 

Which takes us back to Cooper and the plan.  Cooper believes that if his plan succeeds he won't just defeat pain and sorrow, but also save himself from the Lodge because he never would have had to enter it.  This involves "saving" Laura and destroying Judy.  But once you enter the Lodge you are always in the Lodge.

 

So, in Part 2 we see Mike ask Cooper "is it future, or is it past", and I think that everything from that point forward through Part 17/18 and the loss of Laura and Mike once again asking "is it future, or it it past" takes place in that moment, and Cooper saying "we live inside a dream" takes place in the Lodge just before that in the traditional sense of time.  He says "we live inside a dream" because he realizes he lives inside of the Lodge forever in an endless waking nightmare from which there is no escape without fully divesting himself from the Lodge.  So he plans to sacrifice Laura to save himself from ever traveling to the Lodge and with the thought that he will be able to defeat Judy, two birds with one stone.

 

The "Laura" in the Lodge in Part two is not Laura, but a tulpa named Carrie Page who is pulled out of the Lodge, much the same way tulpa Diane is pulled out of our world, and deposited in a secluded universe.  Which also means that real Laura achieved her closure and meeting with the Angels at the end of FWwM, and none of that is undone because the only Laura that Cooper interacts with is the Laura of the past and a tulpa.

 

Back to episode 17.  Cooper, Diane, and Cole are transported to the Great Northern and Cooper goes through the door to visit Jeffries.  In the moment that Coop is transported from the sheriff's department, he visits the Fireman in the first scene we see this season(I think this scene could also take place during his journey through the outlet in Part 3).  After their discussion, Cooper disappears in the same static-y fade that he then arrives in the past with.  His FBI pin is restored to him for the journey ahead.  We are now in the past since everything is in black and white.  When Laura takes Coopers hand and color is restored, we are now in the "present" of a new universe that has been created(I believe that what original Laura experience is Dale disappearing as soon as she takes his hand, so she proceeds to meet with Leo, Jacques, and Ronette).  However, this is something that can not happen, so Laura feels all of her pain and screams, the new universe collapses, and Cooper is transported back to the Lodge where Mike inquires of him "is it future, or is it past" and Cooper proceeds to leave the Lodge, as tulpa Laura told him he could go out, and meet with Diane, who is also unstuck from time because she was stored in the Lodge.  I believe he leaves the Lodge the same night that Hawk was in Glastonbury Grove, because the Log Lady confirms to Hawk that something is supposed to be happening that night and Hawk sees the curtains in the woods.  However Cooper either exits before Hawk arrives or after.

 

Then Cooper and Diane travel to the other place we visit in Part 18.  Now possibly knowing that his first plan failed he enacts a second plan that involves traveling to a second new universe, a possibility he has discussed with Diane at some point in the Lodge, where he believes he can trap Judy.  The arrive at the hotel and I think there might be a timecut between the end of the sex scene and Cooper waking up.  I'm not convinced that is the next day.  But that's irrelevant.  So Cooper finds Carrie and they travel to the Palmer house, but when they arrive and find a Tremond as the owner, he realizes he's been played and there is no escape.  Then, just as in the new universe as with in the woods, tulpa Laura, like Diane, has all of her memories come flooding back.  And, just like in the woods, this causes the new universe to collapse and Cooper is right back in the Lodge, where tulpa Laura informs him that he is a patsy who is trapped forever.

 

But, everything that took place in the world of the Twin Peaks we knew did take place.  BOB was dissipated and Cooper, Gordon, and Diane have disappeared.  A fourth season would pick up after the events of the sheriff station showdown, and no one would ever know what happened to Cooper, Diane, or Gordon.

 

On a positive note, since tulpas have all of the memories of their creator, there is a Cooper without a soul out there taking the place of Dougie Jones who will get to have a "happy" life.  Maybe Cooper knew there was a chance he would fail, so he created his tulpa so he would experience a good life.  I mean, if he has all of Cooper's memories that essentially makes him indistinguishable from Cooper besides not actually being Cooper.  There is a version of Cooper who gets to have a non-Lodge related life, and his only true bid at freedom knowing what we now do.  Another postive is Cooper was also able to right some of the wrongs caused by the escape of his doppleganger.  He fixes the lives of some of the people affected by the fallout of his failure to face the Lodge with perfect courage.  The Lodge helps him do this because BOB is unnatural.

 

That turned out longer than I had expected and I'm not sure I've really translated what clicked in my brain, but that's my best attempt.  And all of this could be blown out of the water by The Final Dossier or a Season 4 if there ever is one.

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@bowisneski Some interesting ideas in there! Thanks for writing that out. I especially like the part about Cooper leaving the same night Hawk was investigating Glastonbury Grove, I was just rewatching part 2 and wondering about the same thing.

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Interesting. 

The other henchman is Dickie Bennett (Jeremy Davies) from Justified.

 

Since folks these days like to imagine TV world crossovers, like Malcom in the Middle/Breaking Bad, it's fun to think about a universe in which Raylan Givens and Dale Cooper cross paths through Dickie, or a Boyd Crowder/Mr. C team-up. Maybe there is a portal to the Lodge in the deep dark hills of eastern Kentucky....

todos_los_cameos_del_regreso_de_twin_peaks_597254878_588x623.jpg

Dickie_Bennett_infobox_3.jpg

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Hmmmmm....  So either it is:

a ) The same guy, who has also been sent into alternative TP

b ) Some kind of equivalent-guy: perhaps the version of him that exists in this universe/timeline/whatever

 

I don't know if we can assume much if it is the latter - we haven't been given a lot to go on about how things work in "things might be different there" Twin Peaks.  If it is the former, then I suppose the most relevant questions are how he died, and what he was doing there to start with.  Presumably it relates to whatever is going on with Carrie to make her eager to go for a ride with random FBI guy.

A tangent - if Cooper knows that everything in this alternative world (aside from Carrie, him and Diane, presumably) is just a construction, maybe this partly accounts for his more ruthless attitude and different affect there?  If he knows that it's all illusory he might be more willing to do harm, and perhaps even be a bit disgusted/scared by the artiface.  (ie. maybe what we're seeing is just Cooper, but deprived of his usual joyful connection to the world, because he isn't strictly in the world anymore).  I think I still lean towards him being more changed than that would indicate, but it's an interesting notion.
 

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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.

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On ‎9‎/‎28‎/‎2017 at 7:39 AM, BonusWavePilot said:

Hmmmmm....  So either it is:

a ) The same guy, who has also been sent into alternative TP

b ) Some kind of equivalent-guy: perhaps the version of him that exists in this universe/timeline/whatever
 

 

Or, for a less fun, but just as (if not more) reasonable option..

 

c ) Same actor playing a completely different and unrelated character.

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46 minutes ago, ThatThomas said:

 

Or, for a less fun, but just as (if not more) reasonable option..

 

c ) Same actor playing a completely different and unrelated character.

This is the overwhelming issue with interpreting David Lynch and his work. With his bizarre dream logic and refusal to ever talk about what anything in his work means, the difference between a deliberate clue of significant importance and a genuine coincidence or continuity error is nearly impossible to distinguish.

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We should start a contest to guess the theme of each feature based on the title!

 

For anybody pining for more Lynch, I found the following series of short animations he made called Dumbland. There's a good description in the link. He did them all himself. Definitely NSFW.

 

http://www.openculture.com/2014/05/watch-david-lynchs-twisted-animated-series-dumbland-nsfw.html

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54 minutes ago, dartmonkey said:

We should start a contest to guess the theme of each feature based on the title!

 

For anybody pining for more Lynch, I found the following series of short animations he made called Dumbland. There's a good description in the link. He did them all himself. Definitely NSFW.

 

http://www.openculture.com/2014/05/watch-david-lynchs-twisted-animated-series-dumbland-nsfw.html

 

I'm game, but I can't help cribbing a little from Cameron's ideas at O&A for the first three below, since I heard them at the same time I learned the titles. The rest are my thoughts.

 

See You On the Other Side - probably a retrospective on those actors who died just before, during or shortly after filming

 

Do Not Pick Up Hitchhikers - something related to the Woodsmen

 

Man with Gray Elevated Hair - about Lynch as director or his character 

 

A Pot of Boiling Oil - either something with the Lodges and oil smells from original seasons, or something playing on Coop dropping guns in the oil fryer in the finale

 

Bloody Finger - something to do with the guy in the jail cell whose face was falling off, or maybe something with the rings, i.e. lodge ring, wedding ring in Brigg's stomach

 

Two Blue Balls - no idea. About Dougie's first bathroom visit or first sexual experience upon his re-emergence? 

 

Tell it, Martin - no idea. Someone named Martin who works on the show giving us some perspective on their job?   

 

 

Obviously, a few of these ideas are a bit on the nose, and more will be needed to fill out 25ish minutes in each segment. But I'll claim a win if 4 of 6 connect in any way to my guesses 

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A Bloody Finger In Your Mouth - Roadhouse performance compilation.


A Pot Of Boiling Oil - 37 minutes of oil in a saucepan, gradually heating and boiling.


Do Not Pick Up Hitchhikers - a documentary explaining the lack of Windom Earle in Season 3.


See You On The Other Side, Dear Friend - detailed profile of Richard explaining all hanging plot threads and lore.


Tell It, Martin - David Lynch's cousin, Martin, gives tips for maintaining a healthy, attractive lawn.


The Man With The Gray Elevated Hair - Andy deep-dive.


Two Blue Balls - teaser for season 4.

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Two more segments named Bad Binoculars and The Number of Completion have been added to the extras lineup for the disc releases. Also, two episodes of something called Behind the Red Curtain, approximately 30 mins each and both subtitled 'Additional Material, Season 1'. http://welcometotwinpeaks.com/news/twin-peaks-season-3-blu-ray-bonus-material/

 

My TV has a line of bright blue pixels down the left hand side of the screen, and I've been eyeing at some beautiful 4K screens, super-large compared to my 32", not astronomically expensive... :D

 

Edit. Also, check out this interview with Lynch about the music in the series. > https://www.kcrw.com/music/shows/morning-becomes-eclectic/david-lynch-2017-10-11

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On 9/4/2017 at 11:15 AM, Don't Go There said:

I feel it is important to preface this with the statement that I really liked “The Return”, and I liked what we saw in Parts 17 and 18. It’s important, because I’m going to sound like I hated it. So, to be clear: I am an OG Peaks fan, I watched it when it first ran on ABC. I loved Fire Walk With Me from the very first time I saw it. And I have enjoyed The Return immensely.

 

That being said, nothing is perfect, and there are some problems I have with this series, and its conclusion. I’ve also been a Lynch fan from way back- I know that, in the battle between coherence of plot and surrealism, Lynch is going to pick surrealism every time. But there are some things that need to be addressed. Not “rules” really. But… well, here, let me just tell you:

 

1. Hawk was in the woods in episode 1. “Once again your log and I are on the same page.” Hawk gets to Glastonbury Grove, sees the red curtains… then nothing. We never find out where he got his information, we never find out what happened, or what was supposed to happen. It is never referred to again. Also, it seems to take place out of sequence, as the next scene with Hawk has him still mulling over the log’s initial message.

 

2. What happened to Becky? This we may already know, as Stephen is definitely hinting that he killed her. This would be a natural conclusion to where that story was headed. But we never see Bobby or Shelly react to this. Once Stephen pulls the trigger on himself-- and we see an ominous exterior shot of their trailer-- we never hear of it again.

 

3. Are we supposed to believe this “Jow-Day” entity is the Thing In the Glass Box? Because there is absolutely no reason to believe that. We are never told a thing about the thing in the box, about the thing in Part 8 that was spewing eggs, about the playing card with the silhouette, about the same design appearing on Hawk’s map. Are all these things even the same thing? Why is evil Coop seeking it out? What was his plan upon entering what I guess is the White Lodge?

 

4. “Jow-Day” is an ass-pull. I’m sorry, but it is. All “Judy” ever was, was a reference to a character in Fire Walk With Me that never ended up in the movie, but Lynch thought it sounded good enough to keep. The “Oh, hey, here’s a bunch of plot we shoe-horned in and decided to bring up 17 hours in” method of storytelling is something this show has done the whole season. Maybe we can call it the “Bill Hastings’s Web Site” method.

 

5. Where the hell is Audrey? And why should we care? The first question would seem to be answered at the end of Part 16- in some kind of hospital. Of course, we can only infer that from the tiny amount we see of it. She could be in the bathroom of Horne’s Department Store, for all we know. The second question- who cares?- is never answered. I mean, we care, because we like Audrey. But Audrey takes, what, four episodes to get out of that house, get to the Roadhouse, do her dance, and wake up (maybe) in a hospital (maybe), shouting at Charlie who is actually a mirror (maybe) and, as far as we know, she has no significance to the story beyond that. Well, then why show us anything about her at all?

 

6. We do remember Sarah Palmer taking her goddamn face off and eating a trucker’s throat, right? That all happened in your version of that episode, too? Oh good. Because it’s never referenced again. Maybe she’s possessed by Judy. Except that the ideas that, a) Judy is the Thing In the Glass Box, B) the Thing In the Glass Box is the BOB-spewing entity in the Trinity atomic bomb whatsis, c) The Thing In the Glass Box is the symbol on the card/Hawk’s map… none of that is actually in the show. At all.

 

7. Look, we need to talk about Annie. I’m sorry, but we do. I don’t much like her either, but she’s important. She’s the whole reason Dale was lured into the Black Lodge. She’s the subject of the last line of the original show. And… I guess she doesn’t exist? Because Norma’s mom has now been dead since before the first season? Even though she was in the show? And she doesn’t have a sister? Remember when we noticed this discrepancy in the book, and Mark Frost said that it would all be explained? He lied. Look, I’m sorry, but he flat-out lied.

 

8. Why is “Red” in this show? At all?

 

9. Who the hell is Billy? Someone’s looking for him in the RR, Audrey is having a fling with him, and two girls in the Roadhouse talk about him. And, surprising no one, we are never told anything else. Why even talk about him at all? There’s this theory that many of the Roadhouse scenes are in Audrey’s head, but he is referenced in a non-Roadhouse scene, and it just brings us back to the Audrey story line going nowhere.

 

10. And the frogbug was what? And whose mouth did it crawl into? And why is the Woodsman putting everyone to sleep? What did any of that have to do with anything at all?

 

11. What is Hawk supposed to watch for, under the moon, on Blue Pine Mountain? Because- and I know this will shock you- this is never, ever mentioned again. So why mention it at all?

 

12. Why did the Fireman shit a golden globe of Laura Palmer out of his head? How did that impact the story, again? I’m sure I missed that somewhere in the 10 hours of Dougie Jones acting like a zombie. Surely this was addressed? That sequence looks like it was expensive. I would imagine it would be of no small import. Surely there would have been at least one reference to it again, somewhere in the 10 more hours they had left. I’m sure I missed it.

 

These aren’t red herrings. These are huge gaps in storytelling. I wonder if the answers to these questions were in the original script. It wouldn’t be the first time Lynch has decided, “Screw the script.”

 

Finally, while I liked the conclusion, did I miss any foreshadowing at all that would hint at what the hell that was all about? I am admittedly dense, and I may have missed all kinds of things.

 

Again, to reiterate: I really, really enjoyed the hell out of this 18 hour movie. But that list of eleven, up there… I think those are big weaknesses that need to be addressed.

 

ETA: So who hired Ray to kill Doppelcoop? Who called Doppelcoop in the hotel if it wasn't Jeffries? I mean, come on.

 

Awaiting the Final Dossier's arrival in a local bookstore, I finally made my way to this last forum thread which I didn't get to in the past 2 months. And I'm finding this particular post a fascinating read in light of some of the interviews Sabrina Sutherland and Mark Frost - and Sherilyn Fenn - have given lately which sheds (a little bit of) light on the process behind the series and Lynch's approach to it.

 

Basically it seems to me that many of these dangling threads are less a case of Lynch saying "Screw the script" and throwing out explanations that were in it than of him ADDING new, one-off, unexplained material to the script. Not in every case, maybe not even in most, but certainly in a lot of the examples you point out.

 

A few observations:

 

-- According to both Sutherland and Frost, the first two hours were written before the rest of the story (Frost got pretty specific at a recent appearance, saying him and Lynch discussed the series for a year (2012-13), wrote the screenplay for the first two hours in the next year (2013-14), and wrote the rest of the material the year after that (2013-14, which puts much of it *after* the Showtime announcement). I strongly suspect this leads to what you deftly call "the Bill Hastings website problem." When I watched that scene in pt9, I had the odd sensation that I was watching like a several-seasons-later retcon, rather than something that was all written and worked out ahead of time. Maybe, in a sense, I was? I kind of like the idea that Lynch/Frost wrote a "pilot" without knowing where it would lead and then more or less left it intact as they worked out the various threads, writing as if their hands were foced even though of course they could go back and scrap/reinvent the beginning if they wanted to. Maybe this was their way of getting back into the mode they'd been in when the wrote the actual pilot back in 1988, with no firm plans of how it would unfold from there? This partly explains why so many threads of pt1/2 kind of wither away and why it has such a different feel in many ways from the rest of the series, despite all the "2-hour movie" claims.

 

- We now 100% know, thanks to both Fenn and Frost, that Audrey was supposed to run a hair salon and that her main (possibly only?) scene was going to be her getting assaulted by Richard. She was gonna be in Sylvia's place. Fenn cried when she read the script and did not want to play this role, so Lynch (by himself, though he shared it with Frost, who approved) rewrote the scene during production into what we know see. Much more to be said about this, which I've said elsewhere, so I'll leave that be for now - but we also know Lynch winged a lot of the Roadhouse scenes too, writing them late in the game on his own (along with other material), so I think it's less a case of having some subterranean story going on than sort of weaving a dream based on a combination of momentary impulses and outside challenges.

 

- Ok, spoiler-y warnings for the Dossier I guess (I haven't read it yet but this is what I've heard - I think mostly sourced from public announcements, though I can't be sure): 

Spoiler

The frogbug girl is almost certainly going to be Sarah - Frost himself said he hopes viewers figured out who the girl was by the end of the series (which doesn't leave many options - it's obviously not just some random person) and others who either read the book, heard whispers, or seen advance copy via trailers etc have confirmed that it is directly addressed in the text and is not going to be a big surprise/twist. This could just be Frost winging it of course but the way he spoke about it doesn't sound to me like "we left it ambiguous and this is my read" but "we designed this storyline with a firm idea of who she was and why it was in there even though we didn't tell you on the series itself." Maybe Lynch feels differently of course. Either way, I've long suspected it was Sarah due to various clues - the girl seems to have a psychic ability, her age almost perfectly matches up with Grace Zabriskie's although admittedly it's a little off from Sarah's according to the Secret History, and the creature that crawls in her mouth has a pointy noise and leaps around on strong hind legs, connecting it to the Jumping Man who is later linked to Sarah via the sharp object poking out of the black space when she takes her face off, and the shot of her superimposed for a few frames across the JM's mask in the convenience store. Much as I like mysteries, I'm kind of glad we're getting an answer on this.

 

Likewise, Frost has said for months that Annie's fate will be addressed in the Dossier. As of now (maybe in a few hours I'll know more) no idea what that means.

 

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Just joined the forum. Listened to the Final Dossier book this morning (it's just under 3 hours) and it answers a TON of questions. I'm hoping a new thread just for the book will be created soon. I'm interested in everyone's thoughts.

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On 9/9/2017 at 1:55 PM, Persistence of 3 said:

 

 

Defintitely at the time. Wasn't aware they were scrubbed for 'the complete mystery' set.

 

Wait, why would ABC run "to be continued" on a series that had been cancelled?

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38 minutes ago, LostInTheMovies said:

 

Wait, why would ABC run "to be continued" on a series that had been cancelled?

 

Maybe the movie(s) had been confirmed?

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On 12/11/2017 at 9:04 PM, LostInTheMovies said:

 

Wait, why would ABC run "to be continued" on a series that had been cancelled?

 

Wishful thinking? There was always hope for a season 3 despite the shabby reality of the ratings.  ABC didn't put that title card in the show, the showrunners did. Perhaps there was hope that 'putting it out there' would result in a groundswell that might change the network's mind. It was a groundswell that got those final two episodes aired in the first place. Once ABC moved the show from Thursdays (where it had been struggling) to Saturdays the ratings tanked entirely. They stopped running episodes in April with only two left. The reamaining faithful viewers were PISSED. A massive letter-writing campagn ensued. The newtwork relented and aired (dumped) the final two episodes in June on one night. The television "season" was over in May.  It was, litererally the least they could do for the show next to not airing it at all. After all they'd already paid for it. That said, the production date on the show would have likely been in February or March, post would have wrapped soon after. That's when "To Be Continued" would have been put on there —and with Lynch's blessing one assumes as the final hour was his episode. It probably got removed by Lynch later for the same reasons. Just a guess.

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