David Lynch

[Carbomb]

I'm going to have to admit some ignorance here, and say I'm not entirely sure I understand what is meant by "deep earnestness" - are there any particular instances in Twin Peaks that could illustrate that? Not challenging the assertion, genuinely would appreciate the insight.

[Chris B]

24 minutes ago, Carbomb said:

I'm going to have to admit some ignorance here, and say I'm not entirely sure I understand what is meant by "deep earnestness" - are there any particular instances in Twin Peaks that could illustrate that? Not challenging the assertion, genuinely would appreciate the insight.

The heightened emotion Laura's parents have. Admittedly, there's some storyline stuff in there, but the long, drawn-out wailing and crying is uncomfortable, occasionally funny, and also entirely earnest. 

[LaGoosh]

26 minutes ago, Carbomb said:

I'm going to have to admit some ignorance here, and say I'm not entirely sure I understand what is meant by "deep earnestness" 

Characters in Lynch's work feel big emotions and they don't generally try to hide them. There's generally no irony and little subtlety - the characters on all spectrum's of good and evil tend to show complete conviction and are incredibly open and they aren't mocked for it. There's very little if any shades of grey.

[Carbomb]

I think I understand. A heightened theatricality intended exactly as seen.

Yeh, I don't think I can think of many parallels in TV.

[davertfnewman]

Just going to Project Blue Rose and Major Briggs, I seem to recall that it was a recurring feature, which is part of the problem with its obsequiousness. I feel like if it had been a case of one day Briggs head off to work and we follow him to some secret base and listening post that's already set up and established and leaves you with a "What the fuck is this?!" feeling, yet it's never returned to again, then it would be acceptable as suitably odd.

My point of comparison would be an episode of the cartoon series Ulysses 31, The Seat of Forgetfulness. Ulysses comes back to consciousness after an event and is seemingly at the mercy of the Gods, but unmentioned and unnoticed there's something wandering in the background. Never touched upon, very creepy, and no explanation, so endlessly fascinating.

[Carbomb]

Gonna have to rewatch Ulysses 31 now.

[SuperBacon]

The next issue of Sight & Sound is unsurprisingly a tribute issue.

Lot more detail on their socials and according to the last issue (I've just had a look in my copy) out Feb 13th.

[BomberPat]

the rewatch continues, with a brief interlude for...

Mulholland Drive

I went to a screening hosted by the Evolution Of Horror podcast; the post-film panel and Q&A was good when they stuck to stories of when they first saw the film and what it meant to them, not so good when it came to audience questions. Someone said something about David Lynch apparently having a thing for license plate numbers, and then really excitedly brought up the "Easter Egg" of the car at the end of the movie having the same license plate as the car at the start. It's the same car. That isn't an Easter Egg, it's the plot. No wonder everyone talks about how impenetrable this movie is if they're getting confused by seeing the same car twice.

The film itself, though, wow. First time seeing it in years, and first time on the big screen. Between that, seeing it after Lynch's death, and after The Return, everything felt like it made so much more sense. I was never particularly mystified by the film in the first place, and in spite of hating the "keys to unlock the mystery" that came with the DVD, I did try and play along with them a little, and the whole thing just came together perfectly. Definitely among Lynch's best work.

 

And then we got into the first two episodes of Twin Peaks: The Return. I love it just as much as the first time around, only now I know where it's going, and I'm excited for it in a completely different way. I can't get too deep into some of my theories, as my partner hasn't seen any further into the series than this, and is trying to stay spoiler-free. But it's okay, because there's so much I had forgotten anyway - some of it came right back to me, some of it may as well be new, some of it are bits I'd remembered but assumed came later in the series. It's just a great time. In an experience new and unique to me in this entire Twin Peaks rewatch, I was even happy to see James.

I'm mostly just looking forward to getting more Gordon Cole scenes, because I need more variety in my David Lynch impression, and for my partner to discover Dougie Jones, and to watch her go through the exact same cycle of confusion, frustration, more frustration, acceptance, love, and disappointment that I did.

Edited February 19, 2025 by BomberPat

[LaGoosh]

Dougie Jones truly is a miracle. I fucking hated it so bad on first watch for the most part but it's funny how completely sold I was on it by the end. On my second viewing knowing where it was all going I truly appreciated Dougie from the start and he's one of my favourite things in all of Lynch's work.

As for Gordon Cole, I don't think there's a funnier line reading in anything than "There they are, Albert. Faces of stone".

Edited February 19, 2025 by LaGoosh

[BomberPat]

5 minutes ago, LaGoosh said:

As for Gordon Cole, I don't think there's a funnier line reading in anything than "There they are, Albert. Faces of stone".

The one that stood out for me was him staring at a headless corpse, then turning to Albert and saying, "He's dead!", but your's is very close. I'm looking forward to being able to add, "I had another Monica Bellucci dream" to my litany of bad David Lynch impressions, though.

I can't wait to meet Dougie Jones again. I think I'm going to love him this time around, knowing what it's all about, but it was so frustrating first time around, because it felt like Lynch was actively keeping Dale Cooper from the audience, and there's so many teases; every time Dougie is offered coffee or pie, I remember thinking that was what would wake him up and make him realise who he was! But by the end of it all, I was so attached to Dougie and his weird life that I didn't want to lose him, I didn't want his family to be upset. I'm really looking forward to going on that ride again with the benefit of the hindsight, and watching my girlfriend absolutely lose her mind about it.

[Merzbow]

Mulholland Drive is deceptively simple, it telegraphs almost everything if you pay a basic amount of attention to it, most of the detective work is working out the symbolism which may or may not even be there at times. I watched it again a few days back and it's just beautiful.

Dougie's the best, I don't know if I was just being a contrarian and enjoying watching fans squirm over Dale not regaining himself for so long or really did love him on my first watch but it was great. Kyle playing him AND Mr C for so long is brilliant, it's easy to forget it's the same actor.

[Merzbow]

Double post but my rewatch of the last episode of The Return falls on the same day Coop enters Twin Peaks, this was not planned... It's it future or is it past?

*atmospheric whooshing intensifies*

[Chris B]

Just got to the "It is happening again" point in S2 of Twin Peaks. Because Fire Walk With Me is so intense, I'd forgotten just how intense the attack in that episode is. 

It's an astonishing sequence too. Everyone in the bar watching the music, and then the cut to Laura's mother. It's already incredibly disquieting before anything overt happens. And when the giant turns up, it's this moment of absolute fear as everything goes to hell. 

While there are wrong turns in S2 for sure, there's some incredible stuff. This entire episode was one of the best. Even the weird disguise reveal is funny enough to slip by less offensively than previous episodes.

[BomberPat]

Yeah, that's a fantastic episode - some of the best supernatural weirdness, but never shying away from how relentlessly brutal the attack (and by extension, the entire foundation of the series) really is.

Something I've really appreciated from rewatching, and listening to a lot of talk about the series, is what an awful time Sarah Palmer has, and how brilliantly Grace Zabriskie plays her part. Laura's friends have each other, Leland's employers do their best to stand by him and support him after Laura's death, but Sarah has nothing - there isn't a single person in the town who tries to help her, or even really checks in on her. By the time you get to The Return, she's just completely hollowed out by it all.

[Carbomb]

34 minutes ago, BomberPat said:

Yeah, that's a fantastic episode - some of the best supernatural weirdness, but never shying away from how relentlessly brutal the attack (and by extension, the entire foundation of the series) really is.

Something I've really appreciated from rewatching, and listening to a lot of talk about the series, is what an awful time Sarah Palmer has, and how brilliantly Grace Zabriskie plays her part. Laura's friends have each other, Leland's employers do their best to stand by him and support him after Laura's death, but Sarah has nothing - there isn't a single person in the town who tries to help her, or even really checks in on her. By the time you get to The Return, she's just completely hollowed out by it all.

I was actually a little surprised at how little Madeleine appears to help her. She shows up, and seems to be there for them, but then most of her run seems to be spent with Donna and James.