General Discussion on Season 3 (All Opinions Welcome)

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NormoftheAndes
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby NormoftheAndes » Sat May 19, 2018 1:46 am

On a visual basis though, would anyone seriously rate those woods sequences near Jack Rabbits Palace on a par with the beautiful shots in Picnic at Hanging Rock? This is probably my main disappointment with s3 - the lack of budget definitely shows in sequences like this. Its not simply the digital camera but the bare-bones camera set-ups, the very simple lighting and its clear that shooting was done in a limited time-frame.

It was very clear the part 8 was given real attention and fine-tuned, more time spent on each shot. But that wasn't apparent elsewhere so much.

Lynch himself complained of a lack of time to shoot in the Fireman's theatre place. I hope they decide to continue Twin Peaks but I seriously hope they manage to divide the budget over fewer hours set within the town of Twin Peaks predominantly and without the added issue of an immense cast - which I felt was totally unnecessary in the end.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby N. Needleman » Sat May 19, 2018 1:59 am

I thought those scenes were gorgeous, is all I can tell ya.
AnotherBlueRoseCase wrote:The Return is clearly guaranteed a future audience among stoners and other drug users.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby sylvia_north » Sat May 19, 2018 8:58 am

mtwentz wrote:
NormoftheAndes wrote:
mtwentz wrote:


One can break new ground and do something radical, and have a drifting, inconsistent season (at least to some). IBy itself making an 18 hour movie is a pretty radical step, although some may be flummoxed by the length. But here's the groundbreaking stuff that I saw:
-Pacing: feeding into a growing countertrend around the world called slow TV.

-Purple Room: Speaks for itself

-Opening Scene with the Fireman: Speaks for itself.

-Episode 8: Speaks for itself.

-Cooper Superimposed Face: Speaks for itself.

-All the Red Room Scenes and Evolution of the Arm: Expanding on the Red Room from Ep. 29

-Narrative style Point 1: We are never told we are in an alternate timeline, or a different reality, or if Carrie Page is Laura Palmer or who the girl is in Ep. 8. Much of The Return has to be inferred.

Narrative style Point 2: The Return was the 'anti-soap opera', deliberately withholding conventional satisfying resolutions for most of its characters (and in most cases, withholding any resolution at all).

-Subverting Expectations: More than any show I can remember, The Return built us up for giant confrontations (Cooper-Bad Coop, Sarah-Laura) that never took place. You can love it, or hate it, but hard not to have an opinion on that style of storytelling.

-Screaming Woman/Sick Girls from Ep. 11- Not sure what to call this, but can't get that scene out of my mind. In fact, the whole scene from Bobby, Shelly and Becky's discussion in the diner up to the sick girl throwing up is unlike anything I remember seeing on television and for me at least, worth the price of admission all by itself.

All of the above can either delight you, or piss you off royally. Both reactions are equally valid.




More creative than anything I could have done, which isn’t saying much, is not radical.

1. Pacing and Narrative style:.

A Lynch/arthouse cinema thing. It’s not that creative. I’m not mad about it, I promise. Disconnected storylines- also not radical.

2. Purple room-

could have been a DL.com vignette, inserted anywhere. Has flourishes we’ve seen in EH, and his Paris installation. Really thought the song, tower and ocean were pretty. Don’t agree it’s the White Lodge, not enough evidence. Not interested where it is tho. Real glad it wasn’t a creamed corn planet you had to drive in reverse to reach.

3.Fireman open-

meh. I mean, f— this was the first moment of season 3 of course we were all on the edge of our seats. I watched this in the big suite on top of Snoqualmie falls. I was elated in that moment, but not because of the content. Not so radical as being present for history being made for fans.

4. Episode 8

FANTASTIC INITIAL WATCH!!! Because everything up to then was lukewarm. Repeat watches, it doesn’t hold up.

5. Cooper superimposed face

A film school conceit to suggest unreality. In a world repeatedly declaring itself as unreal, which is why we showed up to this party in the first place. Not radical. Not a game changer. The influence on the tv culture has already happened, and others did it better. Elvis in the 50’s vs the very last years of his life, again, after a final surge of magic in Vegas. That whole scene was equivalent to fat, mumbling, standing there making fun of himself then dying with his pants down Elvis.

6. All the red rooms scenes-

More self-parody. How a Tulpa is made was hokey AF. TMI, and of all the The horse and Leland were great but because they were familiar- not radical. Cooper falling through the floor had potential, too bad about it. MFAP’s animated stand-in was a weak one. I don’t care about the mystery of the red room anymore. Not mad about it. :wink:

7. Narrative style/timeline questions

literally the only thing that kept me engaged. Then it stopped engaging me full stop and I can’t say why other than Bowie teapot and Hawk’s changing map weren’t compelling enough to explore. Original TP kept me dreaming, this quantum effort was all form with no substance.

8. subverting expectations Once again, I feel it needs to be reiterated that many of we critical went in with no expectations other than be entertained.

9. Screaming woman/sick girl. He knows how to create a mood of anxiety, again, a typical Lynchian flourish

I love that the lovers who persist here really want us to be pissed off and not just ambivalent, and though I’m not in the ‘this was a massive troll/‘challenge’ to the fans, or the ‘what the fans think clearly doesn’t matter’ camp- I don’t presume to know any intentions other than creative exercise and a cash grab.

Even being told what I think doesn’t piss me off royally. I was bored. Except by Dougie. I didn’t feel trolled, I felt like I was watching a friend’s low budget movie and being exceptionally forgiving.

It was less sad than watching Elvis’s last CBS concert tour, but there was a similar mourning for the absolute brilliance decaying before my eyes.
Last edited by sylvia_north on Sat May 19, 2018 9:03 am, edited 1 time in total.
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Robin Davies
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby Robin Davies » Sat May 19, 2018 9:01 am

NormoftheAndes wrote:You don't think Cooper ever said 'damn fine coffee'? He said it more than he said 'damn good'. Plus it was always 'damn fine' in any publicity back in 1990-2.
How is the publicity more relevant than the content of the actual series?
In which episode did he say the exact phrase "damn fine coffee"?
I would suggest the two most memorable quotes are "This is-- excuse me--a damn fine cup of coffee" and "Damn good coffee - and hot!" So that's a draw.
I think your complaint that S3 uses "good" rather than "fine" rests on very shaky ground.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby krishnanspace » Sat May 19, 2018 9:29 am

N. Needleman wrote:
krishnanspace wrote:But the White Lodge described by Major Briggs not does match with what was show in The Return


The White Lodge described by Major Briggs also doesn't match where Major Briggs was shown to be in his flashback in Season 2, on the jungle throne. And Lynch just said the Lodges' appearances are largely subjective depending on how different people experience them. There are no absolutes. Just like Sabrina Sutherland never actually said Season 3's original script was very different. ;)

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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby LateReg » Sat May 19, 2018 10:38 am

NormoftheAndes wrote:On a visual basis though, would anyone seriously rate those woods sequences near Jack Rabbits Palace on a par with the beautiful shots in Picnic at Hanging Rock? This is probably my main disappointment with s3 - the lack of budget definitely shows in sequences like this. Its not simply the digital camera but the bare-bones camera set-ups, the very simple lighting and its clear that shooting was done in a limited time-frame.

It was very clear the part 8 was given real attention and fine-tuned, more time spent on each shot. But that wasn't apparent elsewhere so much.

Lynch himself complained of a lack of time to shoot in the Fireman's theatre place. I hope they decide to continue Twin Peaks but I seriously hope they manage to divide the budget over fewer hours set within the town of Twin Peaks predominantly and without the added issue of an immense cast - which I felt was totally unnecessary in the end.


I too think that this is a different thing stylistically, but no less intoxicating in its imagery. To me, the woods as depicted in The Return look and feel different than I've seen them look in any other film - I can't put my finger on why, but they just do - and that is why I think they hold up to something like Hanging Rock, which is a film I love and have watched twice in the past year.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby Pinky » Sat May 19, 2018 5:52 pm

Funny that Hanging Rock's come up here. I hadn't thought of the film in years, but reading Frost's TFD brought to mind that excised chapter of the novel that pretty much conclusively answered many questions that the work itself didn't attempt to address.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby IcedOver » Sat May 19, 2018 6:37 pm

Audrey Horne wrote:To me, there’s wonderful directing and flourishes. There’s almost nothing but talented actors and performers in this overcrowded landscape. But for me, nothing to latch onto. Everything seems like a setup with no pay off. And I know most will respond to that statement of wanting things to be explained tied up with a pretty ribbon... but contrary, I feel there can be narrative payoffs with still keeping ambiguity. I know I’ve said it before but I feel there probably should’ve been a more practical structure laid out as the blueprint for the story, a real spine, backbone... and in that secure structure, then Lynch can go to town with exploring the ambiguity through direction. But as it stood now, it was just ambiguity on top on ambiguity on top of ambguity with lots of nodding characters understanding that ambiguity but not letting us in.


I mostly agree. It lacked enough connective tissue to latch onto from a basic plot perspective. The scenes/vignettes that did little or nothing to advance the story were often the most enjoyable parts of the show. Anything that was supposed to be "basic plot shit" was handled not in a way that brought about an air of intriguing mystery, but more often than not simply engendered frustration, confusion, and ultimately apathy. Like you, I'm definitely not asking for anything to be wrapped up necessarily. That's far different than asking if a few connections can be made, for characters and their motivations to be at least somewhat satisfying. I had the feeling that they didn't have a handle on their plot, the basic landscape of what they were trying to present. Perhaps somewhere in the scripting/revision or filming or editing process, they just gave up and decided to leave it broken, as if that were the plan all along. People have tried to create fan fiction-style narratives to link it all purely on a plot basis, but from my perspective, you have to go with what is being put in front of your face by the creator. Lynch either intended it to be broken from the start, discovered that was the way he wanted it to be through the production process, or simply had no idea what he wanted to do and flubbed it all up.

On the other hand, anybody could explain all of this away easily, if they want to like the show badly enough. I've done it for myself, if I'm feeling generous towards the show. You could say it's meant to mirror the confusion we feel when pondering any mystery -- no answers, only questions, so no reason for any of it to stick together. You could say that even though things seem disconnected, they're really connected in a way none of us understand, thus the sets of circumstances that push things together towards the conclusion. I don't doubt that that may have been in Lynch's mind when creating the show, as that is his bread and butter. It's a valid way to approach it, but you can go too far with that, to the point that you can forgive anything, which is verging on cop out territory. Preferable would have been to have some firmer base along with the mystery.

It's funny that a year ago, we were completely in the dark about what we would be getting. A year later, most fans are still trying to figure out what we got. I've said this before, but I'll take that over many other pieces of entertainment in film or TV form. If I weren't a fan for 28 years, I probably would have moved on considering my issues with the show, although I would NEVER have ditched (or smoked -- a piece of the log from the show -- really?) any media. I'll take the absurdity of this show over anything I have watched during or since.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby baxter » Sun May 20, 2018 2:59 am

"It's funny that a year ago, we were completely in the dark about what we would be getting. A year later, most fans are still trying to figure out what we got."

So true! I love this statement.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby mtwentz » Sun May 20, 2018 7:23 am

Audrey Horne wrote:I think of Hawk displaying the map and presenting symbols to us but then there is real no practical journey with the map and symbols. Diane is revealed to be Janey E’s sister in what results to be just arbitrary words. Sarah attacks a man and then next installment is back in her living room. Audrey’s journey was truly exciting to me, but felt it was just the beginning and the mirror reveal should’ve kicked in the final third of episodes in which we’re bridging the fantastic with the true human condition. A character like Richard is a great addition to really explore the ramifications of rape and abuse but is just thrown away. I think Lynch and Frost are most likely really compassionate and feel for their creations, but the whole result just came off as bleak, mean spirited, and I don’t know how to articulate it, but a little irresponsible with themes of rape and abuse.


1. "Hawk displaying the map and presenting symbols to us but then there is real no practical journey with the map and symbols." I think this was an example of subverting expectations- we're led to believe throughout the show that Hawk is the 'chosen one' whose Native American wisdom is going to lead to the ultimate main plot resolution. But it was Andy who is raptured up to the White Lodge and Andy (along with Freddy) that ultimately comes in and saves the day. To me, the payoff was Lucy and Andy taking out DoppelCoop and Lucy uttering, 'I understand cellular phones now'.

2. "Diane is revealed to be Janey E’s sister in what results to be just arbitrary words." I always thought the only purpose of that scene was to explain how the Dougie tulpa came to be paired with Janey-E. It's an 'aha' moment, a surprise revelation dropped almost casually. I am not sure if Lynch/Frost were intending to create the expectation of a Diane/Janey-E reunion, but I don't ever remember thinking that was going to be an important subplot (though I might have, it's difficult to remember what I was thinking at the time). I just thought it was an important piece in the puzzle as to Mr. C's activities in between Season 2 and The Return.

3. "Sarah attacks a man and then next installment is back in her living room. " Sarah's story is maybe the most abstract at all, told in very few words, and only one scene with another character from the original series. Her story, is dark, enigmatic and utterly delicious or utterly frustrating, depending on how you view it. Of course, we all expect a final confrontation between the darkness within Sarah and the light within Laura for that final scene, maybe with both of them pulling their faces off one last time. But the expected light vs. dark confrontation never comes. Or doesn't it? Was Sarah's voice and Laura's scream an indirect way of showing the struggle between light and darkness. Food for thought. I must admit I felt the same as you after the initial viewing, but Sarah's scenes and her overall story arc grow on me with each viewing.

4. As to Richard, I would love to have had more scenes with him, and it's yet again the idea of subverting expectations. I fully expected another Richard vs Red confrontation, which we never got. That being said, I can't really complain about how Richard was abruptly taken out. It somewhat reminds me of how Samuel L. Jackson's character is unexpectedly excised from the narrative in Deep Blue Sea.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby NormoftheAndes » Sun May 20, 2018 7:53 am

Robin Davies wrote:
NormoftheAndes wrote:You don't think Cooper ever said 'damn fine coffee'? He said it more than he said 'damn good'. Plus it was always 'damn fine' in any publicity back in 1990-2.
How is the publicity more relevant than the content of the actual series?
In which episode did he say the exact phrase "damn fine coffee"?
I would suggest the two most memorable quotes are "This is-- excuse me--a damn fine cup of coffee" and "Damn good coffee - and hot!" So that's a draw.
I think your complaint that S3 uses "good" rather than "fine" rests on very shaky ground.


Coop says damn fine coffee in the first episode. I just thought that the famed saying from Twin Peaks was 'damn fine' in all of the articles, promo and so on. For them to choose 'damn good' as promo for season 3 seemed notable. I wondered if it may have been ironic considering how much darkness and evil was in season 3.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby sylvia_north » Sun May 20, 2018 8:00 am

Red herring, a fish Cooper isn’t particularly fond of, =/= subverting expectations. This is a staple trope of mystery, it can be done masterfully or pointlessly.

Sarah’s storyline was “delicious” or at least fun to watch (the hyperbole will always get :roll: here) I guess but only because she was the cast member with the juiciest bits, plus horror.

Gonna mention again how asinine the jail scenes are. Worse than green glove even. Don’t care about these people, nothing urgent moving the viewer into an emotional state. Just dumb.

Here’s a subverted expectation: I expected to fall in love with the characters. This is one thing that even post TP pretenders rarely got right. If you’re going to tell me Lynch deliberately didn’t want to us to engage so we were invested in what happened to them, even if it was a floor sweeping music video set to a phone conversation, then that would qualify as trolling/tricksterism, which is highly out of character for DKL. I think he’s sincere. If the two expectations I had (be entertained, be engaged with the characters so their onscreen business had significance making it worth watching) were subverted I refuse to believe it’s because of insincerity or ill-will.
Last edited by sylvia_north on Sun May 20, 2018 8:15 am, edited 1 time in total.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby NormoftheAndes » Sun May 20, 2018 8:08 am

sylvia_north wrote:
mtwentz wrote:
NormoftheAndes wrote:


One can break new ground and do something radical, and have a drifting, inconsistent season (at least to some). IBy itself making an 18 hour movie is a pretty radical step, although some may be flummoxed by the length. But here's the groundbreaking stuff that I saw:
-Pacing: feeding into a growing countertrend around the world called slow TV.

-Purple Room: Speaks for itself

-Opening Scene with the Fireman: Speaks for itself.

-Episode 8: Speaks for itself.

-Cooper Superimposed Face: Speaks for itself.

-All the Red Room Scenes and Evolution of the Arm: Expanding on the Red Room from Ep. 29

-Narrative style Point 1: We are never told we are in an alternate timeline, or a different reality, or if Carrie Page is Laura Palmer or who the girl is in Ep. 8. Much of The Return has to be inferred.

Narrative style Point 2: The Return was the 'anti-soap opera', deliberately withholding conventional satisfying resolutions for most of its characters (and in most cases, withholding any resolution at all).

-Subverting Expectations: More than any show I can remember, The Return built us up for giant confrontations (Cooper-Bad Coop, Sarah-Laura) that never took place. You can love it, or hate it, but hard not to have an opinion on that style of storytelling.

-Screaming Woman/Sick Girls from Ep. 11- Not sure what to call this, but can't get that scene out of my mind. In fact, the whole scene from Bobby, Shelly and Becky's discussion in the diner up to the sick girl throwing up is unlike anything I remember seeing on television and for me at least, worth the price of admission all by itself.

All of the above can either delight you, or piss you off royally. Both reactions are equally valid.




More creative than anything I could have done, which isn’t saying much, is not radical.

1. Pacing and Narrative style:.

A Lynch/arthouse cinema thing. It’s not that creative. I’m not mad about it, I promise. Disconnected storylines- also not radical.

2. Purple room-

could have been a DL.com vignette, inserted anywhere. Has flourishes we’ve seen in EH, and his Paris installation. Really thought the song, tower and ocean were pretty. Don’t agree it’s the White Lodge, not enough evidence. Not interested where it is tho. Real glad it wasn’t a creamed corn planet you had to drive in reverse to reach.

3.Fireman open-

meh. I mean, f— this was the first moment of season 3 of course we were all on the edge of our seats. I watched this in the big suite on top of Snoqualmie falls. I was elated in that moment, but not because of the content. Not so radical as being present for history being made for fans.

4. Episode 8

FANTASTIC INITIAL WATCH!!! Because everything up to then was lukewarm. Repeat watches, it doesn’t hold up.

5. Cooper superimposed face

A film school conceit to suggest unreality. In a world repeatedly declaring itself as unreal, which is why we showed up to this party in the first place. Not radical. Not a game changer. The influence on the tv culture has already happened, and others did it better. Elvis in the 50’s vs the very last years of his life, again, after a final surge of magic in Vegas. That whole scene was equivalent to fat, mumbling, standing there making fun of himself then dying with his pants down Elvis.

6. All the red rooms scenes-

More self-parody. How a Tulpa is made was hokey AF. TMI, and of all the The horse and Leland were great but because they were familiar- not radical. Cooper falling through the floor had potential, too bad about it. MFAP’s animated stand-in was a weak one. I don’t care about the mystery of the red room anymore. Not mad about it. :wink:

7. Narrative style/timeline questions

literally the only thing that kept me engaged. Then it stopped engaging me full stop and I can’t say why other than Bowie teapot and Hawk’s changing map weren’t compelling enough to explore. Original TP kept me dreaming, this quantum effort was all form with no substance.

8. subverting expectations Once again, I feel it needs to be reiterated that many of we critical went in with no expectations other than be entertained.

9. Screaming woman/sick girl. He knows how to create a mood of anxiety, again, a typical Lynchian flourish

I love that the lovers who persist here really want us to be pissed off and not just ambivalent, and though I’m not in the ‘this was a massive troll/‘challenge’ to the fans, or the ‘what the fans think clearly doesn’t matter’ camp- I don’t presume to know any intentions other than creative exercise and a cash grab.

Even being told what I think doesn’t piss me off royally. I was bored. Except by Dougie. I didn’t feel trolled, I felt like I was watching a friend’s low budget movie and being exceptionally forgiving.

It was less sad than watching Elvis’s last CBS concert tour, but there was a similar mourning for the absolute brilliance decaying before my eyes.


Excellent post but it deserves elaboration and I have a few questions.

You thought part 8 doesn't hold up? Can you explain how? This episode feels to me the most well-crafted and cohesive of the entire thing - it has a consistent style reminiscent of 50s b-movies etc.

I really liked Cooper's face over the action in part 17. Worked very well I thought, not sure why you are dismissing it. I wouldn't really say it was immensely radical but it was nicely surreal.

A lot of the special effects and red room scenes were hokey in season 3 but that wasn't by accident. Lynch is very much a visual painter so the artificiality of s3 was extended into the red room. I thought even the curtains looked more artificial than ever - others would say this was just budgetary restraints but I am not so sure.

Totally with you on the desire to be entertained. Many people here are wondering about the narrative and the meaning of this and that in this season, but imagine it as the original planned 9 episodes. It would have been far more concise, intense and with no padding. When it did get extended in length, I remember Lynch talking about his desire for mystery in life (and in this Twin Peaks) but I think its fair to say that Lynch and Frost had the essential script ready before any double-sized Twin Peaks was offered by Showtime. So they didn't have enough to make it fill 18 hours and that's why fans complained that it was too slow, scenes felt padded out or unnecessary, criticised the Roadhouse scenes etc.

Yes, there's a lot of great stuff in season 3 but everything feels incredibly loose, untethered from reality and floaty. Dream-like you might say!

People seem to want there to be some big reason why season 3 is how it is, but the production schedule, doubling in length and lack of budget surely make practical sense of it the most?
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby Robin Davies » Sun May 20, 2018 9:15 am

NormoftheAndes wrote:
Robin Davies wrote:
NormoftheAndes wrote:You don't think Cooper ever said 'damn fine coffee'? He said it more than he said 'damn good'. Plus it was always 'damn fine' in any publicity back in 1990-2.
How is the publicity more relevant than the content of the actual series?
In which episode did he say the exact phrase "damn fine coffee"?
I would suggest the two most memorable quotes are "This is-- excuse me--a damn fine cup of coffee" and "Damn good coffee - and hot!" So that's a draw.
I think your complaint that S3 uses "good" rather than "fine" rests on very shaky ground.

Coop says damn fine coffee in the first episode.
When? I don't remember him ever using that exact phrase.
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Re: Twin Peaks Return: The Profoundly Disappointed Support Group (SPOILERS)

Postby sylvia_north » Sun May 20, 2018 9:35 am

https://www.youtube.com/watch?v=KxwcQ1dapw8 - here’s your damn fine coffee 8)

NormoftheAndes wrote::

You thought part 8 doesn't hold up? Can you explain how? This episode feels to me the most well-crafted and cohesive of the entire thing - it has a consistent style reminiscent of 50s b-movies etc.

I really liked Cooper's face over the action in part 17. Worked very well I thought, not sure why you are dismissing it. I wouldn't really say it was immensely radical but it was nicely surreal.

A lot of the special effects and red room scenes were hokey in season 3 but that wasn't by accident. Lynch is very much a visual painter so the artificiality of s3 was extended into the red room. I thought even the curtains looked more artificial than ever - others would say this was just budgetary restraints but I am not so sure.

Totally with you on the desire to be entertained. Many people here are wondering about the narrative and the meaning of this and that in this season, but imagine it as the original planned 9 episodes. It would have been far more concise, intense and with no padding. When it did get extended in length, I remember Lynch talking about his desire for mystery in life (and in this Twin Peaks) but I think its fair to say that Lynch and Frost had the essential script ready before any double-sized Twin Peaks was offered by Showtime. So they didn't have enough to make it fill 18 hours and that's why fans complained that it was too slow, scenes felt padded out or unnecessary, criticised the Roadhouse scenes etc.

Yes, there's a lot of great stuff in season 3 but everything feels incredibly loose, untethered from reality and floaty. Dream-like you might say!

People seem to want there to be some big reason why season 3 is how it is, but the production schedule, doubling in length and lack of budget surely make practical sense of it the most?


I agree that more time and more money, or more constraints and Mary Sweeney, would have made a far superior product. The dreamlike may have been more dreamy and less Alzheimer’s-like.

Superimposed face makes the sherif station confrontation almost tolerable because it screams it’s not real. Too bad Diane is Naido for no good reason other than Laura Dern looks less matronly than SF these days.

As a standalone short ep 8 is definitely cohesive and nicely surreal :) I just mean I skip the intermission when I rewatch because it’s so simple and I find Penderecki obnoxious, and the outer space stuff belongs to Kubrick (I heard once removed from the source he was talking to that Lynch was very excited by the bloody elevators in The Shining and he has said “We’re going to do THAT!”)

Ditto purple room and the intermittently sped up Naido. Naido rubs me the wrong way because of the gratuitous nudity and jail scenes, so negative association. Who is she, really, in relation to the mother/monster whatever? I do not give a single sh*t about either/all of them.

These scenes don’t make me dream like Rabbits, for example, which gets darker and creepier to me every time I watch it, on the other hand.

Part 8 would have been radical in the context of DL.com. In the early aughts, I’d have spontaneously combusted. If only the sequence took us down the rabbit hole of the convenience store—> blue/red diamond motel and the last episodes (sans Freddy) and that tone sustained

*flashes the Q2 superhero symbol into the sky*. Like others have said, we need a(n) ‘all killer no filler’ style fan edit(s) of Return aka The Dougie Jones/Cooper’s dream/soul journey. Make a edit of “Carl Rodd/Dr Amp/Hurleys/Audrey/Ben&Jerry aka Where Are They Now”. Make a “Gordon Cole the Lecher and his Repulsive Teeth” edit. Make a “#Nametheproblem” edit for those who think it’s culturally meaningful to compulsively reenact and find entertaining and thus normalize and participate in society’s disease bc it’s not Hollywood’s problem to make it unthinkable to show even through it could (**but it won’t because the Hollywood propaganda machine is run by men who profit from depicting onscreen and enjoying offscreen sexism,**) and FLUSH the Roadhouse.
LFB > S3 < green tea latte Frank

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