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I'd never seen that. How random to have Catherine there with Dale...maybe that was who was on set that day.

I know some fans have said the ratings had already fallen in the original timeslot so it was just going to keep happening, but the move does make me wonder if ABC had any faith in the show at all.

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From what I recall - and this is covered heavily in Brad Dukes's book - some diehard fans and their grassroots campaign, which I cannot recall the name of, had a huge role in the move back to the original timeslot and the final push. ABC was poised to cancel it after Episode 24 (Josie's death), with the hiatus, but the fans stepped in. I believe it is covered in-depth in the Joel Bocko video in my previous post, or the following one on his account - there is a lot of archival footage from talk shows, interviews, with fans and Lynch getting the word out. It helped that at least one of the key organizers for the campaign - I think it was called "C.O.O.P." but I can't remember what it stood for - was a Congressional staffer in D.C. who had access to network media sources as well as stuff like fax machines, etc. to get the word out. He's interviewed in the book too.

I think part of the reason for using Piper was an in-joke. She played Auntie Em in the cult classic fantasy film Return to Oz in the '80s, with Fairuza Balk and Jean Marsh. As for Saturdays, it is discussed heavily in the Dukes book and I can't recall any of it. I do think it's possible ABC wanted to kill it. It had a fair number of detractors at the network in certain departments from the beginning, though it also had major boosters.

Edited by Vee
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A particularly probing episode of Joel Bocko's video essay, looking in-depth at Sheryl Lee's performance (with various interview materials, audio and text, incorporated into the essay) and the final act of FWWM. Specifically mentioned is how Lee and Phoebe Augustine's (Ronette Pulaski) on-set discussions with Lynch about the script's darkness led to the creation of the "angel" character.

I know interpretations vary on the ending of FWWM - I always thought it might mean Laura was ascending to the White Lodge, or at least out of the alleged, supposed (yet unconfirmed) limbo of the Red Room/waiting room/Black Lodge, if that's how you see the Red Room. Everything on the show is, after all, open to interpretation. But one way or another, whether she's headed for the White Lodge or Heaven or some other plane, I always took that to be a happy ending, that she's blowing this joint.

Edited by Vee
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David Duchovny wants back in to TP and I want him back in too. Denise Bryson, DEA is one of the strongest new elements of the TP mid-Season 2 fog, which has aged somewhat better and somewhat worse than I remembered in various areas throughout episodes 17-23 or so.

And now, another excuse to post yet more of that video essay none of you are watching! There ain't nothin' else to report and it's 3 AM, you got no place to go!

The first video deals with Mark Frost and Lynch's separate paths post-TP, and how Lynch circled back to the show and the film, first with Bravo's newly-filmed "Log Lady introductions" for syndication, then with the "The Missing Pieces" (deleted scenes) of FWWM on the new Blu-Ray set, and how they all profoundly enrich the larger TP experience, especially the journey into FWWM. There's also a nice bit of Laura from "Between Two Worlds". I was too terrified of BOB to watch very much of the show after episode 14 when the show originally aired on ABC, back when I was very small and watched it live, so instead I first got to watch it all the way through when it was syndicated on Bravo with those Log Lady intros, written and shot by Lynch. They mean a lot to me.

The second video delves - very insightfully, IMO - into how TP and FWWM profoundly evolved Lynch's work, at times against his will - Lynch was originally, allegedly opposed to Mark Frost's take on a more troubled Agent Cooper during production of the show, but this changed. After TP, he went from using iconic, pure heroic protagonists pitted against the underworld (in films like Blue Velvet) to tortured or deeply flawed ones (in Lost Highway, Mulholland Drive, etc.). From the failure of Cooper in the Black Lodge and the exploration of Laura's torment came the psychic imprint of much of his future cinematic art.

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Some part of me still wishes they'd paired Denise with Audrey. I kind of want them to do that in the revival just to see Cooper/Audrey shippers melt down.

I do plan to watch the videos at some point.

I was just watching the first post-Leland episode with my father, and it's not as bad as I felt it was the first time around, although I'm never going to be able to fully support the mess with Nadine, or the two brothers we didn't know or care about bickering at Leland's funeral.

My favorite scene is (and was the first time around) Norma telling her mother to get out. Beautifully acted in understated yet emotional ways by Peggy Lipton and Jane Greer (who look so much like mother and daughter). It's a shame that the Hank and ex-con husband stuff cheapens it, IMO. I just try to forget that subplot.

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I actually like that nonsense with Hank and Ernie Niles, but it really is just silly. You could tell they were hyped to get Jane Greer - they loved hiring old Hollywood vets like that for bits - but I didn't think it went anywhere with a point. I wouldn't have minded if she'd shown back up in a Season 3, though (had the show gone on then), to pester Norma and Annie, especially since, in my most recent re-viewing, I also wondered about a fan theory that Annie wasn't Norma's sister, but rather her illegitimate daughter.

I would have loved to see Cooper and Audrey together back then, and they push it so much up til Episode 18 or 19 in a way that's just heartbreaking in hindsight, but I think that ship may have sailed by 2016. I suppose they could do it after all and I guess I'd be on board, but I have my doubts they'll do it now. I also think the Nadine frontburner in Episode 17 is just too much, as are the brothers. It just drags on in the midst of the stuff that does work (which is too little).

Do watch the videos! You will love them. They're full of so much stuff and period materials, data, etc. that is so rare to see compiled together so artfully, more than I could ever post or bother you with. I hope you did get to watch all of the Missing Pieces. That Norma/Ed car scene (discussed in the videos!) stays with me.

Edited by Vee
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I saw something about Sherilyn Fenn on Twitter and reminded me --

They should finally address the promise/potential that Cooper/Audrey had, in some way, and resolve it, whether positively or negatively. It feels like unfinished business. I don't care if MacLachlan and Fenn want to tear each other's eyes out--I need them to do something with it.

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AFAIK there is no beef between Kyle MacLachlan and Sherilyn Fenn. It was about Lara Flynn Boyle.

I personally don't think there is a real need to go there twenty-five years later, but I do think they sank a lot of time and good writing into the setup, especially for the first half of Season 2, and it was painful to see it go away. If Fenn is available and able, I wouldn't object to a love connection between the characters, but I don't think it has to be there; I think it had a prime moment in the original series, and I think after so long its time may have passed. But maybe not. The trick would be making it relevant to what's happening here and now, and what's at the heart of the show.

I remember there was a random rumor, several years ago, claiming that Lynch would set a revival in some sort of parallel or alternate universe, where Laura Palmer was alive and well and still living in Twin Peaks, in order to keep using Sheryl Lee and co. I discounted it, but there has been a lot more talk recently among fans on other boards about Lynch's sort of interest in quantum physics, alternate worlds or dimensions - the revelations by his FWWM co-writer and show staff writer Robert Engels, that Lynch was particularly fascinated by the Lodge spirits having come from 'another place' (dimension, etc.) full of 'garmonbozia,' or with the idea of the doppelgangers running parallel or behind us in time and space. And I was reminded by someone that he has played with those ideas in films like Lost Highway, Inland Empire, etc. since - people being in two places at once in time and space, like Cooper watching himself on the surveillance camera in FWWM. So something like that with Laura would not surprise me.

Edited by Vee
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Mädchen Amick continues [!@#$%^&*] with us on social media while cozying up to Dana Ashbrook.

I have no idea how to link FB posts or images on here, so I will just do this the best I can. The cast appears to be gathering or has gathered, for whatever reason.

With Sheryl Lee and Lenny Von Dohlen (Harold Smith). Oh, and I guess that's Kimmy Robertson at the end of the table.

With Sheryl and Kimmy Robertson again.

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Enjoy a depressing movie with Glenn Ford and the son from Family, a candy ad with plenty of cheesy Motown coverage and coverage for fans of lady rumps, and a scary mask collection of Paul Simon, some keening woman, Berlin, and from Twin Peaks, the hit song by Julie Cruise.

Edited by DRW50
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That is because she is a British burlesque performer who forms part of an act called The Double R Club who performs at the annual UK Twin Peaks festival. She was there with Lindsey who organises the UK TP Festival and all of them except James Marshall have appeared at the festival. James was supposed to be there in 2014 but had to withdraw due to an acting opportunity. A least we still got to meet Dana Ashbrook and Sheryl Lee!

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