LurkerAtTheThreshold wrote:In TP world you have this unity of two totally different groups, on one hand there are the more doting speculators who would map out the history of the cream corn wars on planet garmonbozia if they could--- then you have the 'Lynch mob' who are so awestruck by this Century's most popular, Arthouse avante garde surrealist -- they are unwilling to discuss the most minute plot detail for fear of tainting 'the experience' ... you know-- 'Lynch isn't meant to be understood man- just watch and appreciate the genius Dougie scenes for what they are'.
The contradiction is interesting, but I don't think it's as black-and-white as you say. For example, I've been quite active on the S3 Timeline thread, using dates and days of the week to come to the conclusion that The Return is likely taking place in September 2014 and trying to use evidence in the show to support the idea that we are not looking at multiple timelines presented non-chronologically (I could definitely be wrong about all that--but I'm pretty sure The Return has been fairly linear from a plotting perspective). Another example is that it really bugs me that people keep referring to Cooper as Dougie (as you do above)--Dougie had about a minute-and-a-half of screen-time and we haven't seen him since.
I think there is a ton to talk about on a storytelling and character level. I just also think getting bogged down in what, to me, seems like fantasy minutia that has absolutely nothing to do with what's actually going on in the show is a distraction. I think Twin Peaks, and most of Lynch's work, uses surrealist abstraction as basic part of its vernacular, and that doing so adds a wonderful, unique dimension to a very human story about intuition and denial.
I'll talk about character and story detail all day! Why else would I be here?
So off the bat you've got a feud waiting to happen, someone just asks a question about wether Bill Hastings is innocent and it's all on for art appreciation verses detective mystery speculation.
I hope my posts don't seem like feuding. I'm totally uninterested in a feud. Vigorous expressions of differing opinions need not be vitriolic, I hope.
The question of Bill Hastings is very open. And quite interesting! I loved the interrogation scene purely for its drama--two friends caught inexorably in the machine that is the criminal justice system. Issues of guilt and innocence aside, the moment when Dave leads Bill to his cell is devastating. See, just pure storytelling--detective stories are definitely part of the mix!
Now the unchallenged nature of Lynch's genius has reached such a high level just criticising him for bad special effects or unnapealing slow melodrama and you're a moron who can't appreciate high art.
I'm not calling anyone a moron. I'm a fan of Lynch's visual aesthetics and pacing (I'm an editor--it's what I do for a living--and I know exactly all the ways Lynch's work could
be tightened up, but I find his rhythms such a breath of fresh air!), but that's me. It's a simple artistic preference. I certainly wouldn't ever say my preferences and preoccupations make me better than anyone!
As for the VFX elements, well, they're not
bad. They're completely unrealistic, but they're well rendered (with the possible exception of the face replacement in the Richard scene in Part 5) and meticulously built, and I have little doubt that they look exactly as Lynch wanted them to look (possibly despite the VFX crew balking at some of it!--this isn't based on any specific inside info or anything; rather just having worked in post production for around 20 years and knowing a lot of VFX artists and what they tend to focus on accomplishing).
I'm pretty used to video art, which largely works with VFX in a similar way (with the goal of creating the uncanny and uncomfortable rather than something seamless), and I'll take that approach over the blockbuster aesthetic any day. It's, again, simply a matter of personal preference, though. Neither is inherently better or worse in my mind.
is very unique to him, but this approach to VFX as a whole is not. There's about 40 years of great work to look at as precedent (folks like Bill Viola, Ed Emshwiller, Takeshi Murata, Ed Atkins, etc.). It is, of course, pretty unusual to use this aesthetic toolkit in the context of a narrative television show with a sizable budget. Pretty awesome, though, in my mind.