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Old 2 Weeks Ago   #131
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Re: Twin Peaks - Series 3

The finale turned something that had over time been overly codified and explained into something perfectly mysterious. I hope it isn't spoiled with another season.

'I believe in what the Germans term Ehrfurcht: reverence for things one cannot understand.'
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Old 2 Weeks Ago   #132
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Re: Twin Peaks - Series 3

Some are speculating Mark Frost's Final Dossier is basically everything they couldn't tell you yet in Secret History. It has extra info about season 3 so that would make sense.

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Old 2 Weeks Ago   #133
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Re: Twin Peaks - Series 3

I really liked the ending. I'm fine with it being the end. It's nicely unsettling and haunting
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Old 2 Weeks Ago   #134
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Re: Twin Peaks - Series 3

I love the way David Lynch uses music, especially in episode 16. What he did with American Woman was genius. I could watch that scene over and over.
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Old 2 Weeks Ago   #135
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Re: Twin Peaks - Series 3

Quote Originally Posted by marioneta View Post
I love the way David Lynch uses music, especially in episode 16. What he did with American Woman was genius. I could watch that scene over and over.
That was also the music used in episode 1 to introduce Mr. C.
I loved that scene. The guy in the wheelchair looks like H.P. Lovecraft.
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Old 2 Weeks Ago   #136
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Re: Twin Peaks - Series 3

Great ending.

Now I cannot wait for Twin Peaks: The Final Dossier.

Your fall should be like the fall of mountains. But I was before mountains. I was in the beginning, and shall be forever. The first and the last. The world come full circle. I am not the wheel. I am the hand that turns the wheel. I am Time, the Destroyer. I was the wind and the stars before this. Before planets. Before heaven and hell. And when all is done, I will be wind again, to blow this world as dust back into endless space. To me the coming and going of Man is as nothing.
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Old 2 Weeks Ago   #137
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Re: Twin Peaks - Series 3

Devastating, elegant, haunting, beautiful.

I love how Lynch uses hyper real concepts to show us real, true humanity. People imprisoning themselves with their patterns, losing their battle with time, dealing with grief, with regrets-- these are all very human experiences.

The previous 16 episodes now have a different tone for me as well after seeing the conclusion. They seem more like a kind of abstract fantasy, a mirror to what the real Dale Cooper is dealing with existentially.

A masterpiece from a master filmmaker. It feels like David Lynch wanted to kill Twin Peaks, and it seems completely dead and devoid of any hope as it now stands. That's a perfect haunting ending, and another haunting ending was exactly what I'd wanted. The "How's Annie?" gut punch haunted me for years and I wanted to feel that all over again.
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Old 2 Weeks Ago   #138
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Re: Twin Peaks - Series 3

I'm aware that David Lynch tends to work on an intuitive aesthetic basis, but there's usually a sense in his films of an "actual reality" underlying things - he isn't just tossing out dream elements or character reversals to be random. The narrative sequence might be jumbled or non-linear, but films like Lost Highway and Mulholland Drive do seem to have an underlying reality that is being expressed, often one the characters are trying to hide from themselves in order to conceal their poor decisions. And I don't think the last two episodes of Twin Peaks are any different. With that in mind, some more thoughts:

The show is called Twin Peaks, not Agent Cooper Adventures. The focus is on the town...and look at how it's portrayed in S3. There are no resolutions for most of the plot strands because there can't be; we don't know enough. We've missed out on 25 years and are only getting glimpses. Who's Billy? What's happening with Ruby? Who knows? With that said, the town clearly hasn't gotten better over time, and the rot at its heart has become even more deeply entrenched, with random vomiting zombie kids, drug dealers, corrupt cops like Chad, Richard Horne, trailer park tenants selling their blood just to make rent, etc. And randomly "saving" Laura in the past isn't going to change any of it.

So I think almost all of episode 17 is a ruse, with "climactic battles" and "feel good moments" and everyone reunited. I think the Lodge entities were taking Cooper for a ride the whole of S3, metaphorically (and literally, in the sense of piloting his doppelgänger).

One of the biggest sleights of hand seems to be the role played by Bob, who's built up as the ultimate evil whose defeat can allow everyone to comfortably celebrate. Except...in the original series Mike refers to Bob as his "familiar," implying a more minor or servant status. Also note how often Bob TAKES ORDERS from the other spirits. In the convenience store scene from FWWM, the mini-Lynch Tremond/Chalfont boy tells him "Fell a victim" (kill someone), and then at the end of FWWM, when he enters the Black Lodge with his Leland-vehicle, Mike and the Arm tell him in unison "Give me my garmonbozia"...which he does.

So I think Mike's supposed reformation (including his helping Cooper in S3) is actually just him jerking Cooper around, taking advantage of his White Knight syndrome by giving him the false victory of the "final showdown" with Bob, in order to make sure Cooper would become overconfident and try to interfere with time. We know that Bob is still present in Leland in the past because he looks out the window at her as she leaves on the bike with James. In other words, that's what Laura has to go back to now that Cooper has "saved" her. The timeline is like a roller coaster of suffering that just happens to have a loop in it - again, entirely for the benefit of the Lodge entities, who get to feast first on Laura's murder (timeline one) and then on her continual abuse by Leland (timeline two).

As for Cooper, he's as much "trapped in the Lodge" at the end of S3 as he is at the end of S2 - in other words, totally removed from reality and no longer even himself.

Or at least this is my interpretation, which I've based as much on the emotional tone of the final episode as on things that directly happen in the plot.
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Old 2 Weeks Ago   #139
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Re: Twin Peaks - Series 3

I doubt he was faking people out with the Fireman's differing motivations so much as what he decided the Fireman was changed in the intervening period and what Lynch wanted to express with Twin Peaks has changed substantially since the early 90s, though he is using the same avatars and iconography.

Dimmer switch identities and realities are among Lynch's main post-Twin Peaks obsessions with Lost Highway, Mulholland Dr. and Inland Empire, with the latter escaping from the Owl Creek trappings into something truly free form and the finale to the latest Twin Peaks run continuing that evolution.

'I believe in what the Germans term Ehrfurcht: reverence for things one cannot understand.'
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Old 2 Weeks Ago   #140
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Re: Twin Peaks - Series 3

Quote Originally Posted by Justin Isis View Post
I'm aware that David Lynch tends to work on an intuitive aesthetic basis, but there's usually a sense in his films of an "actual reality" underlying things - he isn't just tossing out dream elements or character reversals to be random. The narrative sequence might be jumbled or non-linear, but films like Lost Highway and Mulholland Drive do seem to have an underlying reality that is being expressed, often one the characters are trying to hide from themselves in order to conceal their poor decisions. And I don't think the last two episodes of Twin Peaks are any different. With that in mind, some more thoughts:

The show is called Twin Peaks, not Agent Cooper Adventures. The focus is on the town...and look at how it's portrayed in S3. There are no resolutions for most of the plot strands because there can't be; we don't know enough. We've missed out on 25 years and are only getting glimpses. Who's Billy? What's happening with Ruby? Who knows? With that said, the town clearly hasn't gotten better over time, and the rot at its heart has become even more deeply entrenched, with random vomiting zombie kids, drug dealers, corrupt cops like Chad, Richard Horne, trailer park tenants selling their blood just to make rent, etc. And randomly "saving" Laura in the past isn't going to change any of it.

So I think almost all of episode 17 is a ruse, with "climactic battles" and "feel good moments" and everyone reunited. I think the Lodge entities were taking Cooper for a ride the whole of S3, metaphorically (and literally, in the sense of piloting his doppelgänger).

One of the biggest sleights of hand seems to be the role played by Bob, who's built up as the ultimate evil whose defeat can allow everyone to comfortably celebrate. Except...in the original series Mike refers to Bob as his "familiar," implying a more minor or servant status. Also note how often Bob TAKES ORDERS from the other spirits. In the convenience store scene from FWWM, the mini-Lynch Tremond/Chalfont boy tells him "Fell a victim" (kill someone), and then at the end of FWWM, when he enters the Black Lodge with his Leland-vehicle, Mike and the Arm tell him in unison "Give me my garmonbozia"...which he does.

So I think Mike's supposed reformation (including his helping Cooper in S3) is actually just him jerking Cooper around, taking advantage of his White Knight syndrome by giving him the false victory of the "final showdown" with Bob, in order to make sure Cooper would become overconfident and try to interfere with time. We know that Bob is still present in Leland in the past because he looks out the window at her as she leaves on the bike with James. In other words, that's what Laura has to go back to now that Cooper has "saved" her. The timeline is like a roller coaster of suffering that just happens to have a loop in it - again, entirely for the benefit of the Lodge entities, who get to feast first on Laura's murder (timeline one) and then on her continual abuse by Leland (timeline two).

As for Cooper, he's as much "trapped in the Lodge" at the end of S3 as he is at the end of S2 - in other words, totally removed from reality and no longer even himself.

Or at least this is my interpretation, which I've based as much on the emotional tone of the final episode as on things that directly happen in the plot.
I tend to agree with most of this. Mike tricked not only tricked Cooper, but me as well, as I was convinced he was helping Dougie and Dale along this whole way. And I guess, to a certain degree, he was, but it seemed to be for he and his fellow lodge spirits' benefit-- the loop of pain and suffering, an endless feast of garmonbozia.

Is anyone else bothered by the implication that Sarah is a vessel for Judy and/or Mother? Her suffering in the original series was a reminder that Laura Palmer was more than a Prom Queen portrait-- she was a Mother's daughter. I hope that she wasn't some kind of demon and that Laura was only sent to her as a sacrifice to assuage her. Now, she did choose to do nothing about Leland's abuse of their daughter, so maybe that's what all of the Sarah horror show was about at the end of this season? Her guilt and responsibility there?
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