laughingpinecone wrote:And what better way to spur daydreaming than an open downer ending, huh!
It's open to interpretation, but I don't think it was really a downer, just somber and reflective ending. Far from the singing robins of Blue Velvet's ending, to be sure, but Coop and Laura were still alive at the end (perhaps ready to face their personal demons and come to terms with what life had taught them).
There’s a potentially interesting thread/poll to be had in ranking the endings of DKL’s major works from “happiest” to “unhappiest.” I mean, we’re talking about a guy whose first film ended with infanticide as a gateway to nirvana. There’s a lot of ambiguity/subjectiveness, and most of his “happy” endings involve a sacrifice. Even BV — one of his only traditionally happy endings (and possibly my least favorite due to its unearned nature) has been characterized by some as deliberately artificial/cynical, with its blatantly fake “robin” effect (not saying I agree that this was DKL’s intent, but the interpretation is valid and arguably more consistent with the rest of the film).
Off the top of my head, I think the ending of this season would rank as one of DKL’s less redemptive/happy endings, with only MD and maybe LH (perhaps The Grandmother) topping it. I would rank it as “less dark but more of a downer” than the TP S1 and S2 endings, which seems contradictory — but leave it to L/F! While S1 and S2 ended with many characters, particularly Coop, in dire circumstances, the execution of (relatively conventional) cliffhanger scenarios was positively gleeful. Whereas the ending of this season feels like something not quite like anything else in his, or anyone’s work — open-ended and yet conclusive, pregnant with both redemption and damnation as you turn it around in the light, but never letting you know which one wins out. It’s interesting that Mark has compared it to the ending of The Sopranos. I see what he means, in terms of the fact that it’s an anti-cliffhanger — a frozen monent that defies resolution.