Peggy Lipton, Quincy Jones & David Lynch last night in Los Angeles.

📷 by @iamrashidajones. pic.twitter.com/omn3SdbKlI

— Twin Peaks 🌑 (@ThatsOurWaldo) January 17, 2018

Frances Bay taking the lead in an episode of The Judge. The title is oddly appropriate for her Twin Peaks character...

 

 

I know Riverdale's creators admit it owes its whole existence to TP - I haven't watched S2 yet but it looks fun yet very silly - but even for what is surely an admitted homage this is quite shameless:

 

 

He sees you when you're sleeping. Stream the midseason finale NOW, available for free on The CW: https://t.co/GzRMh0PP9p #Riverdale pic.twitter.com/oG6xBEnjvG

— Riverdale (@CW_Riverdale) December 14, 2017

So, this is happening and while I am reluctant to link it because Sherilyn Fenn's life is complicated I feel I ought to anyway:

 

 

I'm raising money for Sherilyns 'metoo' legal battle. Click to Donate: https://t.co/oaANJ9fjkI via @gofundme

— sherilynfenn (@sherilynfenn1) January 19, 2018

Meanwhile:

 

 

Watch NCIS: Los Angeles's Touching Farewell To Miguel Ferrer https://t.co/ACPaE5PgFP

— Twin Peaks 🌑 (@ThatsOurWaldo) January 20, 2018

Disney Animator Recreates Phillip Jeffries Scene As '30s Fleischer Cartoon In “Who Is Judy?” #TwinPeaks https://t.co/IRSxdqLs3s

— Twin Peaks 🌑 (@ThatsOurWaldo) January 18, 2018

????

“She's going nowhere fast... and you're not coming.” 💔

Independent cinema @bioparadis in Reykjavik is promoting their Twin Peaks: Fire Walk with Me screening with THIS alternative poster. https://t.co/y1AUAuj7Y2 #TwinPeaks pic.twitter.com/XzToqIKzyX

— Twin Peaks 🌑 (@ThatsOurWaldo) January 25, 2018

Edited January 26, 20187 yr by Vee

I saw that. I guess it's one of those suburban nightmare type motifs that were popular in the '90s and early '00s.

Joel Bocko's incredible video essay series Journey Through Twin Peaks - an essential watch for any fan of the show, Lynch or Frost (I only agree with maybe 80-90% of his take on the original series, but that's more than enough) - is returning this year to cover Season 3.

 

 

Watch the original Journey - which covers the original show, FWWM, Lynch and Frost's subsequent careers up to and just after the announcement of Season 3 - here. Please.

 

Not sure where to post this on the board, but this seemed like a good thread for it:

 

"I really like soap operas," says Lynch. "I got hooked when I was printing engravings at art school. This lady I was printing with was just completely addicted to two particular soap operas - Another World and The Edge Of Night - so I got hooked as well. I dug them. The frustrating thing about them is that they draw the smallest torments out forever. It works, but it´s frustrating. It think ours will be a hair less frustrating. We´ll see. We may fall into the same thing." 

 

http://webcache.googleusercontent.com/search?q=cache:TGMYskjdFo0J:ncadjarmstrong.com/year-3-postmodern-moving/david-lynch-twin-peaks.docx+&cd=1&hl=en&ct=clnk&gl=us

An interesting four-part essay by Nick Pinkerton for Reverse Shot (part one at the link):

 

Twin Peaks: The Return felt as though connected to something ancient, like Brakhage’s tree, while it registered as contemporary in a way that few works this year did—not in that facile “the movie/TV show/painting/sculpture we need now” way, but as though it had sponged up something of the pestilential mood of the day: the crawling conspiratorial paranoia and the abundance of Boomers gone wild, from pot-panic-addled Jerry Horne (David Patrick Kelly) bugging out in the woods to Dr. Lawrence Jacoby (Russ Tamblyn) reborn as an angry-old-man spraying saliva on his webcam as he transmits anti-everything “Wake up sheeple!” vitriol in the online alter-ego of Dr. Amp. The pacing of the series, compared to the more usually dialogue-and-incident-rich world of serial television, is contemplative, but an ambience of free-floating anger lies over it, and the stretches of stillness are frequently riven with outbursts of hysteria. In episode 11, a leisurely game of catch between three young boys ends with the discovery of a bloody, badly-beaten woman crawling out of the undergrowth; a confrontation between Mädchen Amick, reprising her role as Shelley, and her daughter (Amanda Seyfried) nearly escalates into vehicular homicide; William Hastings (Matthew Lillard), an amateur paranormal investigator, has the contents of his skull emptied as though with a melon baller; and a gunshot shattering the glass at the Double R diner sends Deputy Sheriff Bobby Briggs (Dana Ashbrook) out to confront a surly, suspicious child in camo who reads at a glance as a future mass shooter; a shrilly shrieking woman leaning on her car horn in sheer panic, and her passenger, a young girl in the throes of some kind of fit, her mouth overflowing with viscid goo.

 

The middle-aged members of the original cast, some of them most famous as beautiful youths, like Tamblyn and Richard Beymer, both of the 1961 West Side Story, had gotten old. The teenagers of the original cast, like Ashbrook with his shock of white hair, had settled into middle age. Seyfried was among the new, younger generation of characters introduced, many of them in the way that meat is introduced to a sausage grinder. Among the series’ many casualties are a frisky young couple in New York, a feral Caleb Landry Jones, and Eamon Farren’s Richard Horne, the local dope runner who becomes understudy to his likely daddy, the evil Cooper—though the quarter-century-old murder of coked-up homecoming queen Laura Palmer (Sheryl Lee) retains its position of primacy. Drugs, always an essential part of local commerce in Twin Peaks, are bigger business than ever, rolling in over the Canadian border and inundating the entire country. Before bottoming out, Seyfried’s Becky is seen in lolling back on the burgundy upholstery of shitbag addict boyfriend Jones’s white Pontiac Trans Am to luxuriate in the bliss of being young and beautiful, and having the wind in your face while incredibly, incredibly high. The same episode introduces a minor character played by Hailey Gates, a stringy-haired young mother with a sore-pitted junkie’s complexion who’s barely roused from her stupor by the explosion of a car-bomb across the street in the Las Vegas-area Rancho Rosa Estates housing development, an environment sufficiently soul-sucking to drive anyone into the depths of addiction. Later, at the end of episode 9, the musician Sky Ferreira appears with the hobgoblin-ish appearance of the true meth-head, holed up at a booth in the roadhouse, digging her nails into a “wicked rash” in her armpit and talking about getting canned from her burger-flipping gig. Jones’s character is similarly introduced in the process of being bounced from his job, and little indicators of straightened circumstances are visible all over town. The kids aren’t all right.

 

The air of perpetual crisis felt correct. So too did this eating of the young, and the final episode’s scene shifting to the Texas burg of Odessa, though shooting wrapped in spring 2016, well before the onset of Russiagate. This isn’t a channeling of the zeitgeist so much as a faithful continuation of Lynch’s in-the-American-grain project, which had been acutely attuned to small-town dysfunction long before anyone had heard of an opiate epidemic or, only marginally less tragic, Three Billboards Outside Ebbing, Missouri. It is almost enough, nevertheless, to make you believe in the unfashionably mystical conception of the artist as a fine-tuned instrument that receives auguries, as exemplified in H. P. Lovecraft’s 1926 story “The Call of Cthulhu,” whose narrator finds an uncanny correspondence in the testimonies that aesthetes, artists, and poets give of their dreams, each describing unmistakably the same abomination, whose image has been sculpted by Rhode Island School of Design student Henry Anthony Wilcox. “He called himself ‘psychically hypersensitive,’” writes Lovecraft of Wilcox, “but the staid folk of the ancient commercial city dismissed him as merely ‘queer.’”

It had to happen:
 

 

I can't believe this day has come. Major Briggs... he saw all this. #TwinPeaks #BarackObamaPortrait pic.twitter.com/RUYipPACw0

— Twin Peaks 🌑 (@ThatsOurWaldo) February 13, 2018

“I've been loving you too long to stop now...” 💕 #TwinPeaks #ValentinesDay pic.twitter.com/OhW6OwXYdO

— Twin Peaks 🌑 (@ThatsOurWaldo) February 14, 2018

In perhaps the unlikeliest TP connection of all, @dragonflies' post about the bizarre Karate Kid revival has led me to discover from its linked EW article that one of its young stars is Xolo Maridueña, best known as the lovestruck young boy dating a certain young girl in 1956 in the now legendary Part 8 of Season 3. Small world.

I love that Obama/Garland tweet. If only Garland was here for us now. 

Dana Ashbrook interviews Madchen Amick.

 

https://twitter.com/DanaAshbrook/status/964242059807870976

That backstory about Shelly's ring is sweet.