Official Thread - TCA Announcement - Twin Peaks on Showtime May 21st

[adl345]

I'm not sure what the new season will resemble most -- sure, we could get a very LH feel, but we could also get something similar to the more surreal moments in The Missing Pieces, a kind of Twin Peaks layered with a new millenium/Inland Empire-era Lynch aesthetic.

More likely, it'll resemble the original series and FWWM and LH and MD and IE and maybe even the earlier films, too. But I think it will be quite possibly very different from all that Lynch has done before.

Well, you've definitely got your bases covered.

[indyit]

Er ... we know Badalamenti is involved. They straight out state he's the composer. https://www.youtube.com/watch?v=DHRARCb4APA

Yeah I know that, just meant I hope he is still composing music on it, cause it'd be great if hes composing based on actual footage rather than themes/descriptions/dailies, not that this was necessarily a hindrance in the past - he really killed it last time.

[Johnsusername]

Just rewatched Lost Highway. Man, I love that film. Two take-aways: First, Peter Deming's work on the film is PHE-nomenal. I can't wait to see what he does on the new Peaks. Second, of all Lynch's films I have the feeling LH will be closest in style to Peaks season 3.

I love LH, ever since seeing it at the pictures on release. It's probably my favourite Lynch film (well, tied with FWWM). But...it was a long time ago now? I'm guessing the David Lynch of 2016 will have new ideas compared to the David Lynch of 1996. Don't get me wrong though - I'd love a bit of Lost Highway madness on the new Peaks!

[David Locke]

I'm not sure what the new season will resemble most -- sure, we could get a very LH feel, but we could also get something similar to the more surreal moments in The Missing Pieces, a kind of Twin Peaks layered with a new millenium/Inland Empire-era Lynch aesthetic.

More likely, it'll resemble the original series and FWWM and LH and MD and IE and maybe even the earlier films, too. But I think it will be quite possibly very different from all that Lynch has done before.

Well, you've definitely got your bases covered.

I guess I have them covered. But I also might not. It's hard to say. Could be one way or the other, really.

[moonmadness76]

The show being described as a "one time thing" by David Nevins makes me wonder if we will see any "sacred" mysteries in the vein of Lost Highway, though.

[Dead Dog]

We kind of know what it will look like, right? It will look like the dessert and the Pacific Northwest, through Lynch's lens-- symbolic use of color and blacks straight from the abyss. Basically, like Twin Peaks, but probably a little sharper imagery with blacker blacks. The one thing I could see is a kind of subtle, Sepia filter on certain shots.

[TvinPiks]

I just wish Lynch doesn't overdo it with his esoteric (for lack of a better term) sensibilities. I want Dale Cooper, not Maharishi Mahesh Yogi... Also, I'm more a fan of Blue Velvet and Wild at Heart than of Mulholland Drive (haven't yet seen Lost Highway and Inland Empire, nor am I much eager to see them, going from what I'm hearing, about the latter film in particular).

[Dead Dog]

^ I love Blue Velvet and Mulholland Dr. I like both versions of Lynch. But I do get your point. I just feel like maybe some of us are overthinking this. It's Twin Peaks. We know what that is. We know what most television shows do, even the groundbreaking ones--- they tell stories. I've seen folks speculating that this may have more in common with Inland Empire than the original series and I just don't see that in any way. I do expect some unreliable narrator and alternate reality material that will feel like echoes of Lost Highway and Muholland Dr, but at the end of the day this is still going to be episodic television that is, for the most part, telling stories.

[Rainwater]

Knowing Lynch, plenty of dessert is certainly to be expected.

[Johnsusername]

I just wish Lynch doesn't overdo it with his esoteric (for lack of a better term) sensibilities. I want Dale Cooper, not Maharishi Mahesh Yogi... Also, I'm more a fan of Blue Velvet and Wild at Heart than of Mulholland Drive (haven't yet seen Lost Highway and Inland Empire, nor am I much eager to see them, going from what I'm hearing, about the latter film in particular).

Pardon my French, but Lost Highway is f**king brilliant

It was his first major feature since FWWM I think? Either way, you should watch it, it's a belter. And the soundtrack is a cracker.

[Metamorphia]

I think it'll be closest to FWWM visually (and generally I'm expecting FWWM in serialised form tbh).

Lynch and Deming pulled some great optical tricks on LH and MHD, I'd expect more of the same and their brilliant penchant for subjective camera work.

[Gabriel]

I just wish Lynch doesn't overdo it with his esoteric (for lack of a better term) sensibilities. I want Dale Cooper, not Maharishi Mahesh Yogi... Also, I'm more a fan of Blue Velvet and Wild at Heart than of Mulholland Drive (haven't yet seen Lost Highway and Inland Empire, nor am I much eager to see them, going from what I'm hearing, about the latter film in particular).

Yeah, I tend to agree. I love the craziness of LH, but my 'formative' Lynch experiences were the 'middle period:' Blue Velvet, Twin Peaks and Wild at Heart, which have reasonably strong narratives alongside the surrealism.

Mulholland Drive left me cold: it felt like a somewhat mean-spirited ninety-minute pilot with 45 minutes of drivel on the end (apologies to fans – it just doesn't do it for me, but I still respect you if you find something to like in it!) I remember the first ten minutes after the box opened, thinking 'OK, this is strange, but interesting. Oh, well, the plot will pick up in a minute.' Half an hour in, I was fed up and beginning to realise that this nonsense was going to continue until the end of the film. I finished up dissatisfied. Inland Empire was like watching a crack addict's home video. It's ok if you're really drunk, but I can never stay conscious until the end. When I saw the whole film in the cinema with friends, I went to the pub afterwards, but had to stop off on the way to pick up some ibuprofen to take with my beer!

With Mark Frost keeping a tight rein on the plot, hopefully Lynch's great eye for an image and surreal flair will be filtered perfectly by the cinematographer to create televisual gold. I miss middle-period Lynch, with The Straight Story being the last time I saw the Lynch whose work I really like.

[underthefan]

I think it'll be closest to FWWM visually (and generally I'm expecting FWWM in serialised form tbh).

Lynch and Deming pulled some great optical tricks on LH and MHD, I'd expect more of the same and their brilliant penchant for subjective camera work.

Hear, hear!

[TvinPiks]

I just wish Lynch doesn't overdo it with his esoteric (for lack of a better term) sensibilities. I want Dale Cooper, not Maharishi Mahesh Yogi... Also, I'm more a fan of Blue Velvet and Wild at Heart than of Mulholland Drive (haven't yet seen Lost Highway and Inland Empire, nor am I much eager to see them, going from what I'm hearing, about the latter film in particular).

Yeah, I tend to agree. I love the craziness of LH, but my 'formative' Lynch experiences were the 'middle period:' Blue Velvet, Twin Peaks and Wild at Heart, which have reasonably strong narratives alongside the surrealism.

Mulholland Drive left me cold: it felt like a somewhat mean-spirited ninety-minute pilot with 45 minutes of drivel on the end (apologies to fans – it just doesn't do it for me, but I still respect you if you find something to like in it!) I remember the first ten minutes after the box opened, thinking 'OK, this is strange, but interesting. Oh, well, the plot will pick up in a minute.' Half an hour in, I was fed up and beginning to realise that this nonsense was going to continue until the end of the film. I finished up dissatisfied. Inland Empire was like watching a crack addict's home video. It's ok if you're really drunk, but I can never stay conscious until the end. When I saw the whole film in the cinema with friends, I went to the pub afterwards, but had to stop off on the way to pick up some ibuprofen to take with my beer!

With Mark Frost keeping a tight rein on the plot, hopefully Lynch's great eye for an image and surreal flair will be filtered perfectly by the cinematographer to create televisual gold. I miss middle-period Lynch, with The Straight Story being the last time I saw the Lynch whose work I really like.

You, sir, have described my feelings upon seeing MD to a T! I only saw it for the first time in 2015, when I already had tons of experience with wallowing in weird cinema (I'm sort of a weird cinema addict, I'm proud to say), and at the end, my main reaction (beside ample amount of WTFs, that is ) was: "Is this what all the hype was for?!?!?!"

Yeah, MIDDLE-PERIOD LYNCH all the way for me, baby!!! (Will give Lost Highway a chance one of these days, tho'.)

[mtwentz]

I just wish Lynch doesn't overdo it with his esoteric (for lack of a better term) sensibilities. I want Dale Cooper, not Maharishi Mahesh Yogi... Also, I'm more a fan of Blue Velvet and Wild at Heart than of Mulholland Drive (haven't yet seen Lost Highway and Inland Empire, nor am I much eager to see them, going from what I'm hearing, about the latter film in particular).

Yeah, I tend to agree. I love the craziness of LH, but my 'formative' Lynch experiences were the 'middle period:' Blue Velvet, Twin Peaks and Wild at Heart, which have reasonably strong narratives alongside the surrealism.

Mulholland Drive left me cold: it felt like a somewhat mean-spirited ninety-minute pilot with 45 minutes of drivel on the end (apologies to fans – it just doesn't do it for me, but I still respect you if you find something to like in it!) I remember the first ten minutes after the box opened, thinking 'OK, this is strange, but interesting. Oh, well, the plot will pick up in a minute.' Half an hour in, I was fed up and beginning to realise that this nonsense was going to continue until the end of the film. I finished up dissatisfied. Inland Empire was like watching a crack addict's home video. It's ok if you're really drunk, but I can never stay conscious until the end. When I saw the whole film in the cinema with friends, I went to the pub afterwards, but had to stop off on the way to pick up some ibuprofen to take with my beer!

With Mark Frost keeping a tight rein on the plot, hopefully Lynch's great eye for an image and surreal flair will be filtered perfectly by the cinematographer to create televisual gold. I miss middle-period Lynch, with The Straight Story being the last time I saw the Lynch whose work I really like.

My guess is S3 will have a strong narrative, but there will be really weird stream of subconscious stuff wrapped within it.

I agree that the Lynch/Frost combo works better for me- the crisp dialogue of Twin Peaks is matched by no theatrical Lynch film that I am aware of. Although I recognize that all his films are great in their own way, outside of Twin Peaks, only Blue Velvet is something I have watched multiples times (Granted, I've not yet seen Eraserhead, Straight Story, Dune or Inland Empire- all are on my list to see before May 21).