World of Blue - Archived Forum 2007-2022

KnewItsPa wrote:What we see is Coopers lodge fantasy about Audrey based on his recollection of her and imagining her 25 years on.

It starts off with her being irrational, with complete dependance on a male figure - due to the impossibility of imagining Audrey without a man in tow, but he is less of a man than coop or Justice Wheeler, which is his fantasy compensation for not having 'got' her. This is also why she is robbed of her sexual prowess, independence, intelligence and attractiveness. The fantasy then drifts off to her still doing the Audrey dance, regressing to the behaviours of the teenaged Audrey that Coop remembers, rendered ridiculous by her encroaching middle age.

I'm assuming that you wrote this as a joke.

I'm still intrigued by the "contract" discussion Audrey and Charlie have in their first scene and wonder if it ties into her current situation of fluctuating realities more than just being a reference to a contractual marriage - like she had made a contract with Charlie to keep her hidden in a different reality for some reason.

If Cole's story about the plan he, Briggs, and Coop had to destroy Judy retconned the first series somewhat, it's plausible Audrey could have been a part of this plan, as well. Laura/Carrie and Diane obviously have roles in this plan even though they aren't mentioned by name by Cole, so it's possible Audrey was a part of this, too, since what is happening to her is so similar to Dianne and Laura. I'm just not sure what her part in the plan would be. If Briggs laid out everything to Cooper that would happen in the future, and Audrey was a part of this in some way, Cooper would know, and maybe it would be necessary to keep her hidden.

Jasper wrote:

KnewItsPa wrote:What we see is Coopers lodge fantasy about Audrey based on his recollection of her and imagining her 25 years on.

It starts off with her being irrational, with complete dependance on a male figure - due to the impossibility of imagining Audrey without a man in tow, but he is less of a man than coop or Justice Wheeler, which is his fantasy compensation for not having 'got' her. This is also why she is robbed of her sexual prowess, independence, intelligence and attractiveness. The fantasy then drifts off to her still doing the Audrey dance, regressing to the behaviours of the teenaged Audrey that Coop remembers, rendered ridiculous by her encroaching middle age.

I'm assuming that you wrote this as a joke.

You're free to assume whatever you like. I found Audreys treatment creepy, the dance routine cringeworthy.

Mr. Reindeer wrote:but I sure wouldn't say she's been "robbed of her ... attractiveness.".

Attractiveness is more than looks, it's charisma, style, wit, a little kookyness perhaps. Audrey had none of those qualities that the original character had in abundance, and I think that's completely intentional.

KnewItsPa wrote:the dance routine cringeworthy

Yes, there's something ugly and unsettling about that dance. It's not that she is old --far from it. I think that SF was just not in the mood. She was already pissed off and she didn't put her heart into it (can't blame her).

Projection. Not true.

i have a feeling this might have been somewhat of an influence for Audrey's dance scene at The Roadhouse:

claaa7 wrote:i have a feeling this might have been somewhat of an influence for Audrey's dance scene at The Roadhouse:

Oh my god, how awesome. It wasn't a dance, but it reminds me of Sailor crooning the Elvis love song for Lula in a thrash metal club in W@H.

Novalis wrote:

claaa7 wrote:i have a feeling this might have been somewhat of an influence for Audrey's dance scene at The Roadhouse:

Oh my god, how awesome. It wasn't a dance, but it reminds me of Sailor crooning the Elvis love song for Lula in a thrash metal club in W@H.

hehe yeah, i always loved how bizarre that scene in WAH was. Powermad doing an Elvis love song with Sailor while the girls in the crowd cheers in awe

powerleftist wrote:

KnewItsPa wrote:the dance routine cringeworthy

Yes, there's something ugly and unsettling about that dance. It's not that she is old --far from it. I think that SF was just not in the mood. She was already pissed off and she didn't put her heart into it (can't blame her).

I agree if you take the dance out of the context. There definitely is something not-right about the performance, which on it's own isn't particularly about her age - and do I think Sherylin Fenn could pull off a sexy dance as a mature woman? Hell yes. But not that dance, with that music. When you add the odd performance with the character history it becomes about a middle-aged woman trying (or being forced to) relive her youth.

Getting back in touch with her youth, the way I see it. It's scary and difficult at first, but she eventually embraces it. I find that scene touching.

(And I'm forever miffed that I wanted to ask Sabrina Sutherland if Fenn's tattoo becoming visible in that scene is intended or not, but I fell asleep 20 minutes before the AMA started )

Dissecting Audrey’s Dance with Twin Peaks star Sherilyn Fenn

Returning to the dance was an emotional experience

The purple lighting scheme at the Roadhouse came as a surprise to Fenn, and unexpectedly brought up some personal memories. “My dear friend Prince had just died and there was a purple light on me and I was like, ‘Oh my gosh!’ I had been listening to songs of his that mean a lot to me; his ‘Lovesexy’ record, which is about his struggle with good and evil, God and Satan, and negativity. I’d dance to his music and let it move me.”

http://lwlies.com/articles/twin-peaks-a ... interview/

It seems that Sherilyn Fenn was a bit too much the nose into the scripts in the past and for the new season, asking for modifications, complaining publicly, ponting fingers to other actresses... Some strong temper it seems.

Is it possible that Lynch/Frost were moking Sherilyn herself, in season 3 ?

When she "woke up" un the white room, she faces a mirror. Juste after facing Charlie at the Roadhouse. Juste after scenes that only showed her angriness against a stoic husband. In fact angriness against nothing.

Isn't it a way to say to Sherilyn that she talked to herself all this time. To tell her that she is her own enemy ? That she creates problems to herself ?

In a "look at you in the mirror, first" way ?

PsychoFox wrote:It seems that Sherilyn Fenn was a bit too much the nose into the scripts in the past and for the new season, asking for modifications, complaining publicly, ponting fingers to other actresses... Some strong temper it seems.

Is it possible that Lynch/Frost were moking Sherilyn herself, in season 3 ?

When she "woke up" un the white room, she faces a mirror. Juste after facing Charlie at the Roadhouse. Juste after scenes that only showed her angriness against a stoic husband. In fact angriness against nothing.

Isn't it a way to say to Sherilyn that she talked to herself all this time. To tell her that she is her own enemy ? That she creates problems to herself ?

In a "look at you in the mirror, first" way ?

I don't think they were mocking or punishing her at all. They gave her one of the most talked about storylines of season 3.

ThumbsUp wrote: I don't think they were mocking or punishing her at all. They gave her one of the most talked about storylines of season 3.

Yes, but also a very few scenes.

(I wasn't talking about punishing her)

Fenn says here that she cried when she read Audrey's original part, refused to do it, and had Lynch rewrite it. It's not exactly news but it's the first time I see it stated so clearly all in the same answer. So the theorizing around here seems pretty much confirmed? That she was originally meant to have scenes with the other Hornes, didn't do it, so they filmed in Washington writing around Audrey's absence, and when they eventually struck a deal Lynch wrote her a plot that had to match the fact that everyone in town acts like she's not there?
And her interpretation is that Audrey is not dead or in a coma but stuck inside a dream, that there's a light in her that hasn't gone out.
She also says that Lynch's direction was "this scene, do it like you did it 25 years ago", which she found frustrating because she's not the same person she was 25 years ago. Imho, it's a perfect direction if you want someone who is not the person they were 25 years ago to show the struggle in going back to who they were 25 years ago?

Apologies if this isn't an exclusive interview and you've all seen it fifteen times already, I haven't kept up with UK fest things and I was surprised to find a write-up in an Italian newspaper