World of Blue - Archived Forum 2007-2022

sylvia_north wrote:Posted a grip of links on the Gender thread but this one stood out, if anyone who cares about the male violence against women topic is still here. The mission statement on the site can answer any of the usual ‘but, art.. reality’ defenses, and no, no one advocates censorship. Also for all those who feel validated in the materialistically-motivated arc of Janey-E who brought Dougie’s hoeing on by being a #untamableshrew , the author sees this interpretation as the correct one.

https://www.exquisite-misogyny.com/2017 ... /#more-630

Walk back in after a few months to see this. Thanks for the link. It's a bit ranty, but that reading of Janey-E still stands while others fall.

Mr. Reindeer wrote:I have no desire to tell anyone else how they should feel about the show, but if nothing else, I think this interview should dispel the idea that L/F half-assed this season, or could have “tried harder,” as you say.

There are different types of trying, perhaps Lynch could have tried harder by not allowing it to become a bloated egofest, letting go control and perhaps opening up to a wider world.

Wonder what Engels, Peyton and the original collaborators thought of it.

yaxomoxay wrote:

sylvia_north wrote:https://www.kqed.org/pop/95873/the-musi ... ry-episode

“The Musical Guests in Twin Peaks Ruin Almost Every Episode”

If there is one article I disagree almost completely with, it’s this one.
For one, who cares about the musical piece. If you like the music good, if you don’t, it’s ok. I’d rather have this than see the slow mo video accompanied by Beckley’s Hallelujah or stuff like that.
Second, it’s a town of 52K people. True. It’s indeed unlikely to see that many bands in a few days.
The place where they do Coachella has a population of 60K. The place where they did Woodstock has a population of 5K.
Difficult, but not impossible especially considering the region.
As far as we know, the “Big Hipster Coachella Woodstock Festival of Twin Peaks” might go on. Of all the many things to criticize about this show, this is probably the silliest one... and I am not even a fan of many of the performers.


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I also disagree with this article. For one thing, even if you don't want to think of the songs as having any significance, cutting to the roadhouse at the end of a part is no different than fading to black for the end credits, with a song playing over them. The author states that the songs don't have any bearing on what's taking place, but I think every song resonates in huge ways thematically, summing up a feeling or in some cases giving me a feeling that I didn't know I was supposed to be feeling. Furthermore, the author states that by cutting to the roadhouse we don't have any time to reflect, but cutting to the roadhouse, such as in Part 10 with Del Rio, is meant to give you exactly that: time to reflect! Obviously, much has been talked about regarding the significance of NIN popping up in Part 8 when they do. It's not about plot, but resonance and tone and theme, and in the case of NIN, a sign of a rupture. Maybe it doesn't work for some people, but that's how it works for me and I how I believe it was intended to work.

As far as the songs, perhaps my main disappointment is that not one of them was created specifically for the show. It would have been nice to have had an original Badalamenti and/or Lynch composition, whoever performed it, or an original song from Lynch familiar Reznor. It just felt like a missed opportunity to have so many songs, and all known. "The World Spins" was totally wasted, horribly staged and edited into the show at one of the nadirs of the run. Aside from that, I did like the feeling of almost each episode closing with a musical number; it was unique. Most aren't songs I would ever seek out, especially Cactus Blossoms and the horrible Sharon Van Etten song. The NIN song was the best unsurprisingly, but other songs in Reznor's catalogue could have been better, like "Into the Void".

Has anybody in the production said how the lesser known acts were selected? Was it all just Lynch picking artists or songs he likdd, or did they have a music supervisor with an application process or something to that effect?

IcedOver wrote:As far as the songs, perhaps my main disappointment is that not one of them was created specifically for the show. It would have been nice to have had an original Badalamenti and/or Lynch composition, whoever performed it, or an original song from Lynch familiar Reznor. It just felt like a missed opportunity to have so many songs, and all known. "The World Spins" was totally wasted, horribly staged and edited into the show at one of the nadirs of the run. Aside from that, I did like the feeling of almost each episode closing with a musical number; it was unique. Most aren't songs I would ever seek out, especially Cactus Blossoms and the horrible Sharon Van Etten song. The NIN song was the best unsurprisingly, but other songs in Reznor's catalogue could have been better, like "Into the Void".

Has anybody in the production said how the lesser known acts were selected? Was it all just Lynch picking artists or songs he likdd, or did they have a music supervisor with an application process or something to that effect?

The Trouble Song and the Eddie Vedder song was made for the show and no matter what they say i really believe The Chromatics track was an exklusive.

IcedOver wrote:Has anybody in the production said how the lesser known acts were selected? Was it all just Lynch picking artists or songs he likdd, or did they have a music supervisor with an application process or something to that effect?

DKL’s longtime sound guy Dean Hurley did a series of interviews with radio station KEXP which you can find online where he discusses the various acts and how they were selected. In some cases it was him introducing DKL to acts, and in some it was DKL wanting specific people/songs.

claaa7 wrote:The Trouble Song and the Eddie Vedder song was made for the show and no matter what they say i really believe The Chromatics track was an exklusive.

Well, Trouble is kind of nepotism. I didn't know "Out of Sand" was made for the show; I guess I had just read it was performed before.

IcedOver wrote:As far as the songs, perhaps my main disappointment is that not one of them was created specifically for the show. It would have been nice to have had an original Badalamenti and/or Lynch composition, whoever performed it, or an original song from Lynch familiar Reznor. It just felt like a missed opportunity to have so many songs, and all known. "The World Spins" was totally wasted, horribly staged and edited into the show at one of the nadirs of the run.

You found the ending of part 17 to be a nadir? Why? I really liked the whole last part of that episode.

NormoftheAndes wrote:
You found the ending of part 17 to be a nadir? Why? I really liked the whole last part of that episode.

How can you question that someone would dislike that very controversial episode which ends with Cooper pulling a ridiculous, out-of-left-field "Back to the Future" move and apparently unmaking the entire series? I mean, I can understand it if I accept that this show was in part contemptuous of the "Peaks" world and the audience, but it was terrible to watch and horribly done, with the inappropriate inclusion of old footage. It might be the worst segment of the show.

I don't see it as a Back to the Future scenario though - I never saw Cooper step into a time machine DeLorean and travel back to 1989. The whole of season 3 was so anchored in the 'unreal' for want of a better term, maybe I mean 'dream-like.'

Admittedly, I feel Lynch works best when there's a clear distinction between reality and the dream-world, as was the case in all previous Twin Peaks seasons and FWWM. However, I saw Cooper's return to intervene in the last night of Laura's life as his desire, a dream of wish-fulfillment. There's nothing that happens after that in part 18 which convinces me that time travel genuinely occurred or that Cooper literally changed the timeline or prevented Laura's death in reality.

IcedOver wrote:

NormoftheAndes wrote:
You found the ending of part 17 to be a nadir? Why? I really liked the whole last part of that episode.

How can you question that someone would dislike that very controversial episode which ends with Cooper pulling a ridiculous, out-of-left-field "Back to the Future" move and apparently unmaking the entire series? I mean, I can understand it if I accept that this show was in part contemptuous of the "Peaks" world and the audience, but it was terrible to watch and horribly done, with the inappropriate inclusion of old footage. It might be the worst segment of the show.

I think that “unmaking” is the wrong term. I think he moves it. In E18 we clearly see that Laura is still there. We also clearly see TP still there, with the Double R. We even see (hear) Laura’s real universe calling which indicates that nothing of importance has been undone even though Cooper might think so.



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I guess neither of you two have read "The Final Dossier"?

eyeboogers wrote:I guess neither of you two have read "The Final Dossier"?

Saving it for May 21st, but I already know some of its ... controversial points.


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I haven't yet read "The Final Dossier" (so don't spoil it please, but I don't have high hopes because of the last book), nor have I rewatched the final two parts in full. However, whether one calls it time travel or believes it was a failed attempt, the idea actually to save Laura comes out of left field. Coop never wanted to save Laura, just catch her killer. Leland just asks him to find her. We don't know what Coop is thinking when Laura removes her face to show she is possibly something more ("the one"?), because the show sheds no light on characters' thoughts. The show just weakly transitions from him trying to get back to reality and stop Mr. C, to him willing to unmake a timeline to save Laura.

IcedOver wrote:. Coop never wanted to save Laura, just catch her killer.

"Fire Walk With Me" has Cooper - on several planes of reality, trying to save Laura Palmer.

eyeboogers wrote: "Fire Walk With Me" has Cooper - on several planes of reality, trying to save Laura Palmer.

That's a bit of a stretch in how it could relate to this show. This show itself gives no specific foreshadowing that trying to save Laura is Cooper's primary purpose; only after the fact do you realize it's one of the "two birds". It's poorly formed ideas and weak construction.