Twin Peaks

[Vee]

Nope. Lynch wanted 18 and got it. It's not padded but it is telling a very deliberate story at his own peculiar pace which is not for everyone.

 

I would not recommend binging.

[DRW50]

Thanks for finding all this. Don Murray being there makes me wonder if this will be a big episode for him as well (I have a feeling Mullins won't be making it out of the office building alive). I've really enjoyed him on the show.

 

The photos are great - the (fun) one with Kyle rubbing James' head is going to give people a few seizures though.

 

[Vee]

[DRW50]

Clearly Everett favors a tight top...

[Vee]

Check 'em all out, but here's a few tidbits from one piece:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Edited July 22, 2017 by Vee

[Vee]

 

And here's some of Dana Ashbrook taking over the TP instagram on-site:

 

Edited July 22, 2017 by Vee

[Vee]

Coop and Brienne of Tarth:

 

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Showtime livetweeting the SDCC panel:

 

 

[Vee]

[ghfan89]

It's definitely slower pace. Some have complained there's not enough plot progression, but what I think Lynch is getting at is wanting you to experience the moment rather than just let it wash over you.

[Vee]

Just noticed: Miriam is very clearly still breathing in the trailer. Maybe not for long, who knows.

Edited July 23, 2017 by Vee

[YRBB]

I LOVED Diane briefly talking to the doppelganger and saying that's not Cooper.

 

The Harry situation is really saddening.

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The moment where Cooper's training instinctively kicked in was so great. He's still in there somewhere!

[DRW50]

I really enjoyed this episode.

 

Miriam coming out of the grass, like a monster to that little boy, even though we know she's actually a kind, wonderful woman, was the exact type of scene you'd get in an old horror movie from the studio era. It was brilliantly done, a love letter to Lynch's early influences. 

 

I was glad to see less focus on victim Becky and more on just how desperate she is and how she can't break the cycle, even when Shelly and Bobby (I'm so glad I was wrong to think someone like James was the father) are there to help her. The scene of her going apeshit in the hotel reminded me an old Hitchhiker episode - it got that mania to a tee (that show was also bathed in cocaine, so they got the tone of Becky's hysteria just right). There were some interesting implications around, like the hint that Bobby hadn't been as close a part of her life, but you could still see the bond between father and daughter. And the cycle continued to prove its strength when Shelly literally went running into the arms of a very bad man. I'm going to say right out that I don't judge Shelly and I'm not going to act like Bobby was this saintly guy she is betraying - that relationship was probably a headache every day and Shelly has also been conditioned to want a lot of drama. Now that Bobby is, seemingly, in a good place, it may be too late for her to accept this and also to disassociate from what they once were. He may have just taken everything she had in terms of love and she can't go there again.

 

(now that I've said that...Shelly now it's the time to tell Bobby you're still in love with him and have a vow renewal with Norma officiating and giving those knowing glances Peggy Lipton made an artform of tonight, because you're my Twin Peaks OTP and I don't want anyone to take that away from me ever) 

 

Only Madchen Amick could ever look that good being thrown off a car. 

 

I didn't realize that was Donna's sister who was out getting dirty with Becky's loser husband. Somebody Skype Doc Hayward before it's too late. Having a piano segment at the end almost felt like trolling her. That could have been you, Gersten...

 

Harry Dean Stanton's role as a voice of kindness, calm and wisdom added an extra layer to the Shelly scenes that could have just been hogwild melodrama otherwise. The use of older actors in these calm, warm roles (again something that reminds me of old studio films) has been one of my favorite parts of this new season. Carl is a treasure. 

 

The set piece with Bobby and the cars was fascinating - a real tableau of the insanity of modern life, then at the end, some genuine horror thrown in. No one does that slow bug-eyed dread like Dana Ashbrook so I'm glad they gave him those scenes. My heart was in my throat wondering if Bobby was going to get killed by that kid. 

 

Speaking of Dana, I loved that scene where he was old angsty awkward teenage Bobby when he saw Shelly run off with Red, no matter how much he tried to hide it in front of his daughter. Perfect acting.

 

I said this last week but I wasn't expecting to see the Log Lady again. And again I was moved and had to collect myself. The way that Lynch is scattering out her appearances is how you spent your last weeks or months with a loved one who is dying - every conversation has a finality and poignancy. 

 

I know most people are sick to death of Dougie and Vegas, and I can't turn my nose in the air there - I feel like I should be too, with the clock winding down. But the sheer absurdity of Dougie embodying the "cinnamon roll too pure for this world" meme to such an extent that thanks to more than a little help from the Black Lodge (presumably) and the ridiculousness of Mullins (more wonderful work from Don Murray), not only was he not killed, but he was feted as a hero. Jim Belushi and Robert Knepper played these scenes, and their double act setting it up, brilliantly. The latest appearance of disassociated Candie fascinated me as ever. And the latest prick tease of Dale's return was broken up by the beautiful moment of the little old lady at the casino telling Dougie that thanks to him, her life was now wonderful, everything she'd always wanted. I loved that bit. That very rare happy ending, and the savoring of cherry pie, are likely the final moments to smile before Jennifer Jason Leigh and Tim Roth start their bloodbath, so I appreciated them for what they were.

 

From Miriam to Carl to the little old lady, there were multiple reminders in the episode, after months of seeing characters either suffer and suffer, die horribly, or face absurdist pseudo-realities, that good things and good people can survive and thrive. Hopefully that is a sign that the tone is shifting more and more as we head toward everything converging narratively.

 

The only part that slumped a bit for me was the stuff with the Hastings case, although that had some good moments, including Gordon nearly being sucked into the Doctor Who opening credits, and poor Matthew Lillard going Scanners through the sheer power of overacting. Seeing the struggle word games Albert and Gordon "world's worst actor (that's Gordon not David Lynch - he's actually quite a good actor)" were playing to try to hoodwink Diane also interested me.

Edited July 24, 2017 by DRW50

[Vee]

Not ten minutes in and this is pretty great:

 

Good old Carl.

 

Gersten!! (Or Alicia Witt)

 

Pretty sure the older boy teaching the other kids baseball (who finds Miriam) is Travis Frost, Mark Frost's young son.

 

Maggie (the dispatcher at TPSD) is still the best.

 

Is that the convenience store in Buckhorn??

Edited July 24, 2017 by Vee

[Vee]

The whole traffic jam sequence is a work of art.

[hsfolk]

I wanted someone to shut that b**** up that wouldn't quit honking her horn