Episode 22

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TwinPeaksFanatic
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Re: Episode 22

Postby TwinPeaksFanatic » Sun Apr 23, 2017 3:02 pm

There is no way around Evelyn's awful dialogue. Nor can James' acting be called good, but I don't think this is the worst episode of the series. I wrote a recap of the episode here ---> http://twinpeaksfanatic.blogspot.com/20 ... de-22.html

:D
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Mr. Reindeer
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Re: Episode 22

Postby Mr. Reindeer » Sun Apr 23, 2017 6:19 pm

The only Keaton touch that really annoys me is the weird slowed-down post-production effect (e.g., Malcolm holding Evelyn down). Those moments feel like a student film, and look awful. There are a few other instances where her self-consciously artsy angles are distracting, but there aren't enough to pin the episode's failure on her. The real problem is that, unlike the prior few duds, this one doesn't even have one redeeming scene like Briggs's return or the Dead Dog stuff (or, for me, the moody Leo scenes that bookend Episode 21 -- YMMV). It's all just middling-to-low-grade midseason slog, and lots of it. That's not Keaton's fault. Lynch himself couldn't have done much to elevate this material, besides pulling an Episode 29. (I will admit that I find the "Hi, Frank" moment hysterically funny.)

The Earle stuff is the closest thing to a highlight, and certainly could have been executed better with a few simple tweaks, as others have noted. On this rewatch, I thought the tape Earle sends Coop in Episode 18 sounded eerily like Robert Blake in Lost Highway. If only Welsh had stuck with that delivery style, Earle could have been creepy as hell. (The script for Episode 18 provided the following direction for dialogue delivery: "Think of Orson Welles" -- the character ended up going a VERY different route!) It's funny how Coop in Episode 21 goes out of his way to tell Harry that Earle is a cold calculating genius and was feigning insanity -- but then we meet him and he's very obviously a complete loon! Still, even with a different execution, Earle is just way too much of a screenwriters' wet dream (as I believe LostInTheMovies delightfully termed him in his character writeup). Writers, even good ones, can fall a bit too in love with their own work (see Rod Serling, one of the best television writers of all time, who churned out some pretty stomach-churning purple prose at times). Earle feels like the writers, particularly Peyton, having way too much fun, and it's often not contagious.

It's worth noting that, until now in the series, even with Laura as a distant memory, the White Lodge mythology stuff has kept us tied to the Palmer family tragedy in a roundabout way. This is the first episode to mention neither Laura nor the spirits/Lodges (and perhaps is one of the only such episodes), and therefore feels a long ways from the mystery that was supposed to hold this world together.

(Ok, fine...Earle does give a shout-out to the Owls on the postcards.)
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Gabriel
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Re: Episode 22

Postby Gabriel » Tue Apr 25, 2017 1:36 pm

Given how this period of the show was loaded with really dull storylines like Evelyn and 'mad' Ben, I actually like quite a lot of this episode. I thought Diane Keaton's direction was mostly nicely done and I would have liked to have seen more episodes from her. I'll never knock a director for trying and falling down on some aspects. The post-production slo-mo shot of Evelyn blowing smoke rings reminds me of Wong-Kar Wai and Christopher Doyle's work in the mid 1990s. The best thing about this episode is that it clears out more dead wood like the above stories and after episode 23's elimination of Josie via BOB, we're pulling back to being with the show we started watching months earlier. In a sense, this whole run of episodes post-Leland's death has been the show's own 'Ben Horne Civil War.'

It is a sobering thought that poor Maddy had only been dead for under a fortnight when this episode is set, though. Looked at that way, everything seems a bit trivial.
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Jonah
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Re: Episode 22

Postby Jonah » Fri Jul 21, 2017 11:48 am

Audrey Horne wrote:The scene with Sarah is heartbreaking. When she goes to the town store, and those three women are gossiping and whispering about her behind her back. Leland and Laura might be gone, but their presence is still felt. Donna visiting her later was wonderful.

I don't remember this at all! Not quite on this episode yet in my rewatch, but I thought Sarah disappeared after 17 until the finale? I do remember Donna going to visit her in a much earlier episode and Sarah seeing Laura's face on Donna's, but I have no recollection of Sarah going to a store and people whispering about her!
Actually, now that some time has passed, I like "The full blossom of the evening".
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Audrey Horne
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Re: Episode 22

Postby Audrey Horne » Fri Jul 21, 2017 12:38 pm

It was a joke - i think it was commenting on what basically been the type of scenes we'd be seeing and picking apart if the show remained more true to itself. None of those scenes in my post exist - just the type of thing that should have.
God, I love this music. Isn't it too dreamy?
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Jonah
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Re: Episode 22

Postby Jonah » Fri Jul 21, 2017 8:21 pm

Ah! Ok. Lol. I wish scenes like that had happened. Although the Sarah scene you describe sounds like something that could possibly take place in the new series.
Actually, now that some time has passed, I like "The full blossom of the evening".
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Jonah
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Re: Episode 22

Postby Jonah » Sat Jul 22, 2017 1:27 pm

The famous Diane Keaton episode. I think this episode gets a bad rap, but I don't think it's the worst of this stretch. It's not as bad as Episode 19 imo. It really is a mixed bag, though. Some pretty good scenes and some really awful ones, all mashed together with a lot of over-stylistic flourishes.

As I mentioned before, I do sort of like the opening shot of the close up zoom through the chess pieces.

I'm less fond of the cut to the Evelyn Marsh close up.

While I like the scene of the men in uniform turning in unison in Wallie's, I think it's weird how the three policemen march out of the Marsh house in sequence. It seems to be a sort of vibe they're going for. It's repeated later with the drum-carrying hotel staff.

I do really like the Wallie's scene - the music, the men at the bar, the mural on the wall. I think the atmosphere is very Lynchian and pretty great, even if the story itself isn't.

Overall this episode is very weighed down by all the overly stylistic touches, though I admire Keaton for trying to inject some interesting touches into the series. I just think she was trying too hard.

A highlight here - Albert returns! And I love his line to Bobby on his entrance.

There's a lot to like here - the Big Ed/Norma scene, close up on their faces as they talk about their lost love. Then Nadine climbing into bed with both of them. (The look on Norma's face is priceless.)

The Harry/Coop/Josie/Catherine/Pete scenes are only so-so, but glad to see Coop taking the fibres from the coat.

The Eckhardt stuff is pretty poor though.

The Windom/Leo stuff in the cabin is pretty good.

And I love seeing Johnny Horne with Ben in these scenes - almost makes Ben's descent into craziness worth it!

The scene with Evelyn and Donna here is pretty awful.

Bizarre close-up of a chess piece over trees before we cut to the Sheriff's Station after the Wallie's scene.

Big reveal here - Josie looks to be Cooper's shooter. I wonder how many people had forgotten Cooper was shot by this stage in the original run.

Is that Toad in the chess scene in the diner?

I really like the scene with Norma and Shelly.

And the scene with Harry and Norma.

Another bizarre shot - a close up of the moon (which we've seen before) over a shot of trees. Shots like these have been used before but using two at once seems a bit too much.

The Catherine/Eckhardt/Josie scene is very hammy.

Evelyn blowing smoke is hilariously bad.

The sequences with Evelyn, Malcolm, Donna, and James are pretty overblown - but at least this story is over.

The Civil War re-enactment isn't very good, but I bet the actors had fun playing it - and, again, at least this arc is over now too.

And the first of the really bad Windom Earle disguises!

I like the final scene with the mask though.

Overall, I think this episode is a really mixed bag, but I don't think it's the worst of this stretch. In my opinion, that still belongs to 19.
Actually, now that some time has passed, I like "The full blossom of the evening".

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