Then again Frank Booth says in Blue Velvet to Jeffrey: "Don't you look at me, fuck. I'll shoot if I see the white of the eyes." If you look someone straight in the eye, that's when you see the white of the eyes. Well, characters also witness the white horse when they're confronted with th...

Re: Richard's dream: How does that track with the shift to Laura's POV at the end, or her scream blowing out the lights at the Palmer's house? Or even the names Chalfront/Tremond coming up again in real life (he dreamed them before he'd ever met the woman at the door)? I think it's thematically sati...

Cooper simply being on the next stage of his quest - how long do people think he has? It took 25 years for him to be allowed to take one step forward (and one step back). Cooper's going to be stuck on that journey until he accepts every part of himself/crosses through oblivion. Might take a while l...

8 - Amazingly powerful running on its imagery and iconography (pieced together from both the real world and that of Twin Peaks ) alone 18 - My second favorite hour; completely gutting and capable of being read any number of satisfying ways, with a resolution that locked several pieces of the show in...

White horse as denial tracks for me. I also love the little "part of the eyes with which you don't see" connection above.

Lynch wanted the money so badly he refused to do the project as originally offered and walked away with no guarantee of a deal. So, so desperate for another slice of those Twin Peaks checks. What a sellout. Meaning, I don't really give a darn about the black lodge or evil Coop or doppelgangers, I li...

Cooper and Laura's spirit connection may not have always been present in the series -- though the finale made beautiful use of their shared "dream" in which he's "twenty-five years older" -- but it's definitely existed since Fire Walk With Me , where they're dreaming of each othe...

diatribe to the gangsters about being sensitive to others' pain and suffering (just now realising - garmonbozia reference?). Garmonbozia is pain and sorrow. You're thinking of the off brand. Hard times? Is your doppelganger on a tight budget? Try Morgan Abizo's Creamed Corn!* *improved recipe Thank...

ThumbsUp wrote:diatribe to the gangsters about being sensitive to others' pain and suffering (just now realising - garmonbozia reference?).

Garmonbozia is pain and sorrow. You're thinking of the off brand.

-Moving toward the atomic explosion

-Cole's doorway vision of Laura

-Cooper's face superimposed over his explanations at the sheriff's station

-The most uncomfortable sex scene I've ever experienced in fiction

-"What year is it?" and ending shots

I think the distancing composition is a logical extension of the fact that this is by its nature an expansive work, almost the antithesis of DKL's prior mission statement that he only likes to do "neighborhood stories." I think the style will grow on me on repeat viewings, just as IE's &q...

The everyday strangeness and the accompanying emotional states you mention do work very well at de-automating 'the marketplace', and here Lynch is very much an inheritor of formalist traditions both cinematic and literary (e.g. Russian Formalists using ostrannenie to defamiliarise the world of 'byt...

cipher - i would have to think about it abit, but the obvious example that occurs to me is the ' dougie at the doctor's' bit where Naomi Watts sees dougie shirtless and you get an edited-in very buff trim and hairless torso: she is idealising him as even more ' improved' than he actually is. There ...

I'm pretty happy with both Bob's birth and death, as presented in The Return . On the one hand, he's done justice for the threat he represented in the original run via episode 8. I absolutely adore the connection to the atomic bomb, grafting the personal cruelty that affected Laura onto this large-s...

Cipher: The Returns' shots rarely have Empire's ...sense of point of view. surprised you say that. The shifting POV ( scenes seen through different character's eyes, or the way we see one character through another character's eyes, vs the ' authorial ' eye, the always shifting subjectivity, or ' un...