Parts 1 & 2 - My log has a message for you & The stars turn and a time presents itself (SPOILERS)

[Soolsma]

Random thought: would MJA have been cast, what would the arm's doppelgänger have looked like?

Evil MJA lashing out at Coop: "NON EXISTENT!!"

[mtwentz]

Random thought: would MJA have been cast, what would the arm's doppelgänger have looked like?

Evil MJA lashing out at Coop: "NON EXISTENT!!"

We did see his doppelganger in Ep. 29.

I think that scene was definitely more effective with the 'evolution of the arm' than it would have been with MJA.

[vicksvapor77]

I keep forgetting to ask: What does everyone make of Laura's scene with Cooper very closely mirroring, yet being slightly altered, from the scene in the original show?

In the original series, Cooper had a dream of Laura telling him her father killed her. This scene seemed to take place 25 years later, as they had Kyle in old makeup. Does that mean his dream was some altered vision of the future real-life event, which we just saw happen before our eyes in part 2 of the new season? Or is it possible there have been many times in the last 25 years where Laura has whispered different things in Cooper's ears? Or am I wrong in both possibilities?

Lastly, do you think the "I'll see you again in 25 years" comment is referring to the original dream we saw older Cooper? The new season scene? Both somehow? I assume in the context of the original show, it was probably referring to the dream but that has no changed to the new scene we saw (though again, are they one in the same moment in time somehow?) Who has Cooper spent his time with in the Red Room for 25 years if not for Laura? Has he been largely alone?

[Mr. Strawberry]

Hi everybody. Looking forward to our collective night drive back into Twin Peaks...

Got a lot to say in my first post here so I'm breaking it into sections:


-Effects-

There's been a lot of discussion about the effects and whether or not they are "bad", and if they indeed are, then whether or not that is intentional.

I would say this: If the effects are taking you out of believing that the world is real, then that is a problem. And no, that's not meant to be read into. Destroying the suspension of disbelief is not desirable. I found myself distracted by completely static red curtains behind closeups on Coop. It looks too much as though a motionless backdrop was placed beneath a chroma keyed shot. Whether or not the background was CGI is not even the point, it's more that the presentation differs from the original series without any good reason, and it leads to us as an audience sitting there and speculating as to why that is the case, and wondering how the scene was shot and so forth, which can't possibly be any director's intention.

Obviously we're supposed to be focusing on the characters and the larger story they're a part of, and some of the imagery takes away from being able to do that. At no point in the first two seasons did I ever ask myself how "the set" of the Red Room was designed and presented. Instead, I wondered where it was (was it in the mind or in the world?) and of course wondered what the hell it was to begin with.

To summarize, "bad" effects are totally excusable, but a dramatic change in how something essential is portrayed can be disorienting and distracting. Take Lexx for example. It's an incredible show with effects that range from hilariously bad to amazingly good. At no point did the cheesy effects ruin the show. In fact they fit right in with the rest of the goofy content.


-Music-

I also noticed that "Peaks Music" was mostly absent, but since the majority of the scenes took place elsewhere, it makes total sense. I expect that more and more of the original score -- and new Badalamenti material like it -- will play as we move in the direction of Twin Peaks. For example, "Dark Mood Woods" plays during a scene that takes place there, and it is so appropriate and effective.

Speaking of that scene, it's great that Hawk is showing up so early and I hope he's a major player. He didn't get enough screen time in the first two seasons.

The droning ambient soundscapes that are featured sure do fit with the settings and scenes they accompany. I'm really fond of Lustmord (which is dark) and Vladislav Delay (which is dreamy) when it comes to this sort of stuff and recommend checking them out.

As far as other bands appearing at the Bang Bang Bar, I'm with everyone else who finds it annoying. Imagine if a well known band from the late 80's or early 90's had played there in the first two seasons. It would have pulled the viewers out of Twin Peaks and into the real world, and that's basically what it's doing now. As far as Julee Cruise goes, it's just different. I'm certain that most of us didn't know who she was at the time, and that the show introduced us to her rather than it being the other way around. To the viewers at large, she was simply "that singer at The Roadhouse" and felt like she was part of the fictional world rather than a real world person popping in for an appearance.


-Structure-

I agree with some of the comments regarding how disjointed and fleeting the glimpses of Twin Peaks are. At the very least, these scenes could have given us more, because they come off as teases otherwise. Guess we'll have to see how things unfold after these first two hours, but that's a long time to reveal so little about what's going on there.

With so much happening around the country, it does feel like we're jumping all over the place, but the more I think about it, the more it seems that things have always been this way. It's not so different than constantly shifting between interpersonal realities as was the case in the previous material. Just because these realities are in scattered places across the states rather than a single county doesn't make too much of a difference. I'd also argue that each of us lives in a "larger world" now compared to 25 years ago.


-Pacing-

I began rewatching the series leading up to this new season, and the scenes in S1 & S2 move far too quickly. Interestingly enough, that's not how I remembered them at all. My memory is that they unfolded very slowly just as the current season does. Anyway, I really enjoy the way we are allowed to bask in each scene of S3.


-Things that I really liked-

Fear: The show is very frightening just like the original was. There are outright terrors and disquieting implications everywhere.

Confusion: I have no idea what's going on in so many ways.

Mystery: It's a lot of fun trying to figure out what's occurred during the last quarter of a century, by piecing together what we already know with what's being revealed now. All in all I think the vagueness of many new elements is extremely engaging and I disagree with the assertion that too much is being explained.

Cooper's Doppelganger: Like many things this was handled differently and given more complexity than what I had expected.


-Addressing some of what's been written here-

Jean-Michael Renault? Is that supposed to be another brother?

The three Renault brothers were Jacques, Jean, and Bernard. This is probably a first cousin to those brothers considering he's also named Jean and given how closely he resembles Jacques.

People thought that was a tree and not a neuron?

I thought it was a neuron too.

I do find myself wondering though - why can Cooper "go out now" in particular? Like what is it about this time which makes Bad Dale suddenly have to return?

My guess is that a deal was struck there, and those were the terms, rather than this being an arbitrary "rule" in that dimension.

The Roadhouse has been gentrified (!)

How depressing...

What we're getting now, however, is all Lynch (if you exclude Mark Frost, who was seemingly just along for the ride).

Although I disagree, maybe you can shed more light on how you came to that conclusion. Mark Frost and David Lynch wrote this together, that much we know, and just because it's directed by DL and imparted through his unique vision doesn't make it exclusively his. It's still a collaboration.

Regarding some of the desire to see the season made available in its entirety: I get where you're coming from, since I rented the first two seasons on VHS, one tape at a time, and went through it in a matter of weeks.

For some reason I feel differently about it this time around. If it had been dropped all at once, the experience would have been ruined due to a lack of widening suspense and deepening intrigue. This is a story that's -- so far -- much more complex and mind-invading than the previous two seasons combined. It should be absorbed and contemplated by chapter, then reflected upon and discussed through the interim. Not to mention, people who can afford to watch it all in a day or two would inevitably do so and spoil plenty of material for those who wish to take their time. Socially and technologically speaking, things have changed considerably since the initial two seasons were aired.

[wxray]

"well known bands"? I guess I'm old.

[HagbardCeline]

"well known bands"? I guess I'm old.

Yeah, I hadn't heard of any of them, and the Chromatics even spent a lot of time in Portland where I'm from.

[N. Needleman]

it leads to us as an audience sitting there and speculating as to why that is the case, and wondering how the scene was shot and so forth, which can't possibly be any director's intention.

If you did I get it, but I didn't speculate. I barely even noticed a difference in the curtains. I liked it. So no, I don't think there is a one-size-fits-all take on this stuff or on the FX. Some of us embraced it.

As far as other bands appearing at the Bang Bang Bar, I'm with everyone else who finds it annoying. Imagine if a well known band from the late 80's or early 90's had played there in the first two seasons.

With the exception of the still relatively small scale Chromatics, none of those bands are well known.

[Jerry Horne]

I'm just glad someone snagged the 'Mr. Strawberry' username!

I'm sure this has been mentioned but can Coop leave because it's been 25 years? Is there some weird Black Lodge contract?

[MasterMastermind]

it leads to us as an audience sitting there and speculating as to why that is the case, and wondering how the scene was shot and so forth, which can't possibly be any director's intention.

If you did I get it, but I didn't speculate. I barely even noticed a difference in the curtains. I liked it. So no, I don't think there is a one-size-fits-all take on this stuff or on the FX. Some of us embraced it.

As far as other bands appearing at the Bang Bang Bar, I'm with everyone else who finds it annoying. Imagine if a well known band from the late 80's or early 90's had played there in the first two seasons.

With the exception of the still relatively small scale Chromatics, none of those bands are well known.

Same. Not once did I think or worry about it.

Also Au Revoir Simone is somewhat well known, but obviously not huge or anything. A big part of Twin Peaks is the concept of time. These acts in the Roadhouse play into this, I think. Plus if I'm ok with Cibo Matto and Aimee Mann in Buffy I can't much complain about Chromatics in Twin Peaks!

[mtwentz]

I'm just glad someone snagged the 'Mr. Strawberry' username!

I'm sure this has been mentioned but can Coop leave because it's been 25 years? Is there some weird Black Lodge contract?

The stars turn and a time presents itself...

Edit: We always thought someone would 'rescue' Cooper from the Lodge, instead he just seems to have 'left' right after Laura whispered something in his ear. So it's really up in the air at this point as to what allowed Coop to leave the Lodge. Did Laura make some sacrifice that allowed him to leave?

[wxray]

I'm just glad someone snagged the 'Mr. Strawberry' username!

I'm sure this has been mentioned but can Coop leave because it's been 25 years? Is there some weird Black Lodge contract?

The stars turn and a time presents itself...

It is also written in Article 4, section A.3 of the "Black Lodge Constitution"

[Jerry Horne]

I'm assuming Laura told Coop the exact time of day he could leave? Isn't that what he asked right before? (Sorry, I haven't memorized these yet )

[mtwentz]

I have only seen Part 2 three or four times, so I don't remember if Cooper asked when he could leave.

[HagbardCeline]

It's probably just coincidence, and it's somewhat doubtful that MLMT is canon anyway, but one of Cooper's college professors was named Margaret Hastings.

[Jasper]

We always thought someone would 'rescue' Cooper from the Lodge, instead he just seems to have 'left' right after Laura whispered something in his ear. So it's really up in the air at this point as to what allowed Coop to leave the Lodge. Did Laura make some sacrifice that allowed him to leave?

Based upon Bad Coop saying that he's supposed to get pulled back into a place called the Black Lodge, I'm assuming that this was a set time. So, I don't think that's necessarily what Laura did that seemed to us to be a sacrifice, so it perhaps had more to do with what she whispered in his ear. Then again, maybe she did make a sacrifice for Cooper and Bad Coop knows about it because of some non-linear lodge time thing.

All I know is that Frost and Lynch used the old "I'll see you again in 25 years." thing to establish a reason for them to meet again.

Speaking of that, does anybody have that old screenshot of somebody on 4chan (I think) claiming to know that Lynch was meeting with execs (a good while before the return was announced)? They got the network wrong, but a lot of that post was spot on, including mentioning that Lynch wanted to include a recreation (or near-recreation) of the classic red room scene.