Jake

Twin Peaks Discussion

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I've heard it proposed that this "snag" is a negotiating tactic to keep acting contracts negotiated as cheaply as possible, like in the middle of the Simpsons' popularity, Fox announced they were considering a 100% recast of the voice talent and started taking auditions, to get the notoriously well-paid talent to simmer down. I'm sure the Simpsons is multiples more high profile and cost than this, but "now fellas it might not happen because contract negotiation," seems like it could be a tactic as much as anything else.

Whatever the reason, I agree with lostinthemovies that it's very likely we get SOMETHING out of the project, or else the explosion will be petty notable for all parties involved.

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Hey

 

I'm really keen to watch TV series that have similar mystery feels (noir style?).  Does anybody have any recommendations?

 

I hope it goes without saying, I've already watched X-files, haha.

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That's kind of hard because part of what makes Twin Peaks so special is how there's nothing quite like it. I wouldn't call it "noir", exactly, but if you're alluding to it's cinematic presentation that's something that's especially hard to find on television.

 

The Killing has is a similar premise but the tone is wildly different, much more somber.

 

True Detective is kind of Twin Peaksy, in that it's an occasionally surreal mystery show with a highly eccentric lead detective. But again, tone is way different. Worth seeing either way, though.

 

Northern Exposure was a show that sorta tried to cash in on Twin Peaks by aping it's environment (though it's Alaska, not Washington) and quirky side characters but making it broader and more palatable. But it's not a mystery show.

 

There are probably way more shows that resemble X-Files than shows that resemble Twin Peaks, so even if you've already seen X-Files you might want to look at more shows like that? Roswell is one with an alright reputation. Lone Gunmen, Freaky Links don't have great reputations but there's probably some good episodes.

 

You can always find a bootleg of the David Lynch pilot that later became Mulholland Dr. and imagine what the rest of the series would have been. I don't know if Mulholland Dr. has been discussed on the show (I'm about 12 episodes behind) but the pilot version is out there in less-legal places and I think it's a great counterpoint to Twin Peaks. I honestly think it works better as a pilot than as a completed film.

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Yeah I'm kind of just really looking for the mystery element, very good character development.  I've never been much of a TV series watcher, and Twin Peaks really captured my imagination and made me think what else I could be missing out there that is just as intriguing.  I'll have a look at True detective :) Thats been recommended before actually.  Thanks!

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Hannibal has a Twin Peaks-y kind of sensibility in its lush visuals, deep tone, and overall weirdness. The showrunner, Bryan Fuller of Pushing Daisies, has claimed David Lynch's works and Twin Peaks specifically as huge inspirations.

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I don't know if Mulholland Dr. has been discussed on the show (I'm about 12 episodes behind) but the pilot version is out there in less-legal places and I think it's a great counterpoint to Twin Peaks. I honestly think it works better as a pilot than as a completed film.

 

I think it would be cool if Jake & Chris covered other Lynch films after FWWM, as another Twin Peaks podcast did. Thoughts?

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I think it would be cool if Jake & Chris covered other Lynch films after FWWM, as another Twin Peaks podcast did. Thoughts?

 

I think it's a wonderful idea, especially considering that Kyle MacLachlan has said he sees his character in Blue Velvet as a college-aged version of Cooper, Mulholland Dr. began life as a spin-off series for Audrey, and Lynch has said that Lost Highway takes place in the same universe as Twin Peaks, I think there's a lot to talk about. That, and I think even without considering those (somewhat weak) ties to the series, Lynch's other films do a lot to explore many of the same themes that Peaks explores, like duality, fractured realities, and unstoppable evil forces.

 

I think that it's a bit reductive to lump all this stuff into some sort of "Lynch-verse", but I think that Lynch is very unique in terms of directors in that he seems to want to elaborate as much as possible on very similar themes and tropes, to where discussing the totality of his work can really give you some amazing insight about each individual work. 

 

I've still yet to see his more mainstream films (Dune, The Elephant Man, The Straight Story), so I don't know how much I'd want to hear about them since they don't seem to deal with the same themes. But, honestly I'd just really like to hear the guys discuss Lynch more, because this podcast is one of the most insightful and fun podcasts I listen to. Even if that means we end up getting entire episodes devoted to single The Angriest Dog In The World strips, I'll take it.

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I've still yet to see his more mainstream films (Dune, The Elephant Man, The Straight Story), so I don't know how much I'd want to hear about them since they don't seem to deal with the same themes.

I think they definitely have Lynchian themes, handled in different ways - clumsy for Dune, cautious in Elephant Man (inasmuch as he was still developing some of these themes), subtle for Straight Story. I did not care for Dune but Elephant Man is excellent and very moving. Straight Story may actually be one of my very favorite Lynch films. Even aside from the novelty value of David Lynch directing a G-rated Disney film...

EDIT: It also occurs to me that The Straight Story is about an old man doing something really, really slowly and what could be more Lynchian than that?

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Oh and also you might want to throw the short films disc in there (recently included as special features on the Criterion Eraserhead blu but there's a disc that has them too. The Grandmother is interesting in relation to FWWM for several reasons: theme of abuse, young protagonist (only time a child stars in a Lynch film), creepy/crazy dinnertable scene, white face paint, but also the main character dresses like the

Tremond/Chalfont boy (the magician grandson) and is close to a grandmother figure. No wonder Lynch brought those characters back from the show.

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Oh and also you might want to throw the short films disc in there (recently included as special features on the Criterion Eraserhead blu but there's a disc that has them too. The Grandmother is interesting in relation to FWWM for several reasons: theme of abuse, young protagonist (only time a child stars in a Lynch film), creepy/crazy dinnertable scene, white face paint, but also the main character dresses like the

Tremond/Chalfont boy (the magician grandson) and is close to a grandmother figure. No wonder Lynch brought those characters back from the show.

 

I started watching Six Men Getting Sick and The Amputee, and maybe I was just not in the mood for them at the time, but they seemed more like art installations than his other work, and were a little too grating. I should probably give them another try, along with the others, now that I just finished FWWM last night and really, really enjoyed it.

 

As for The Straight Story being very Lynchian, I think you're exactly right. I have the DVD for it, I better give it a watch.

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I started watching Six Men Getting Sick and The Amputee, and maybe I was just not in the mood for them at the time, but they seemed more like art installations than his other work, and were a little too grating. I should probably give them another try, along with the others, now that I just finished FWWM last night and really, really enjoyed it.

 

As for The Straight Story being very Lynchian, I think you're exactly right. I have the DVD for it, I better give it a watch.

 

6 Men was an art installation & The Amputee was a camera test (though I actually really like that one) so they are sort of abberations in that sense. But all the films are pretty different from one another depending what period they were shot. In a way you'd never know The Alphabet & The Grandmother were shot by the same director as The Cowboy & the Frenchman but in the context of Lynch's overall work it makes sense since they tap into different sides of his style. But he's oddly a more versatile director than people realize I think.

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I just wanted to point out that Billy Zane seems to have turned into a real-life version of Dick Tremayne:

MV5BMTI5NzA2NTE0NF5BMl5BanBnXkFtZTcwNzAx

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I just wanted to point out that Billy Zane seems to have turned into a real-life version of Dick Tremayne:

MV5BMTI5NzA2NTE0NF5BMl5BanBnXkFtZTcwNzAx

 

I wish this forum had a thumbs-up button or something because it feels like a waste just to put up a post saying "LOL" but...LOL.

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Holy cow!  Whoever found those old usenet posts from 1990, you're amazing.  Truly the internet is forever.  I love this one from the end of the first season from a guy who figured most of it out, to the extent that's possible, in May 28, 1990.

 

 

While reviewing Cooper's dream, friends and I think we may have come

across a interesting interpretation: Bob's statement that "you may think
I've gone insane, but I promise, I will kill again," fits well with
Leland's behavior in the second and subsequent episodes. In the scene
before the dream, Leland dances maniacally with Laura's photo, ending with
his blood on her image. This seems to implicate Leland, and indicate the
onset of his insanity. In later episodes he further degenerates. But in
the finale, he smothers Jacque with a pillow. Could this be the "death
bag" mentioned in the dream? Leland's cold blooded killing (especially
the efficently applied tape) seems to indicate that he may be thinking
more clearly than people are giving him credit for.
Could it be that the dream is the key to solving the murder without being
a literal guide to every thing that happened? Obviously, it is a dream. But
perhaps we are taking the dream too literally when we conclude that the
killer's name is Bob.

I think the dream is a set of pointers to the solution. The one armed man
leads to the vet which leads to Waldo which leads to Jacque and the
cabin. The scene in the cabin cannot be inferred directly from the dream,
but the elements of the dream were the key to finding the cabin, and the
part of the secret that the cabin revealed.

Given the tenuous connections between these elements, I don't have a lot of
hope that we can find the solution ourselves. I think we'll need a little
more help from Cooper, Truman, Frost and Lynch.

Doug

P.S.
Wouldn't it be great if every episode ended with a dream as good as this one!

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Holy cow!  Whoever found those old usenet posts from 1990, you're amazing.  Truly the internet is forever.  I love this one from the end of the first season from a guy who figured most of it out, to the extent that's possible, in May 28, 1990.

 

 

While reviewing Cooper's dream, friends and I think we may have come

across a interesting interpretation: Bob's statement that "you may think

I've gone insane, but I promise, I will kill again," fits well with

Leland's behavior in the second and subsequent episodes. In the scene

before the dream, Leland dances maniacally with Laura's photo, ending with

his blood on her image. This seems to implicate Leland, and indicate the

onset of his insanity. In later episodes he further degenerates. But in

the finale, he smothers Jacque with a pillow. Could this be the "death

bag" mentioned in the dream? Leland's cold blooded killing (especially

the efficently applied tape) seems to indicate that he may be thinking

more clearly than people are giving him credit for.

Could it be that the dream is the key to solving the murder without being

a literal guide to every thing that happened? Obviously, it is a dream. But

perhaps we are taking the dream too literally when we conclude that the

killer's name is Bob.

I think the dream is a set of pointers to the solution. The one armed man

leads to the vet which leads to Waldo which leads to Jacque and the

cabin. The scene in the cabin cannot be inferred directly from the dream,

but the elements of the dream were the key to finding the cabin, and the

part of the secret that the cabin revealed.

Given the tenuous connections between these elements, I don't have a lot of

hope that we can find the solution ourselves. I think we'll need a little

more help from Cooper, Truman, Frost and Lynch.

Doug

P.S.

Wouldn't it be great if every episode ended with a dream as good as this one!

 

Almost every account I can find of viewer reaction in 1990 skews heavily towards having no clue who did it. (I guess we're still using spoiler tags here for people catching up with the podcast.

Even in the Donahue poll, he places nearly last of all the suspects - I think Cooper had more votes than him.)

Except for alt.tv.twin-peaks. They were on that, to the point where I would say he was probably their #1 suspect, at least in the heavy sampling I've read.

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I wish this forum had a thumbs-up button or something because it feels like a waste just to put up a post saying "LOL" but...LOL.

:tup:

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Oh, this has been on my phone for a week and I've neglected to post it.

In a recent episode of Idle Thumbs, they mused about a Twin Peaks themed wedding and how teen murder and trauma might not be appropriate for the occasion.

Turns out that people have had a Twin Peaks themed wedding and Buzzfeed has the photos. I'm still not sure if it's appropriate but any Maddie Ferguson cosplay is fine with me.

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I was going through my old PC the other day and found a folder labeled twin peaks. Turns out the very first time I watched twin peaks I watched it in a player with a snapshot function. So now I have all these snapshots of moments throughout the entire run that I thought funny, important, cool, terrible. But sadly among the thousands of pictures of Audrey was a screenshot of the ending, which if forgotten

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This is bad:

 

I've got bad news. No official word yet, but it looks like the Twin Peaks on Showtime deal is dead. But remember, Twin Peaks will never die!

 

This "That's Our Waldo" guy is generally reliable, right?

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