Part 6 - Don't die (SPOILERS)

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Xavi
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Re: Part 6 - Don't die (SPOILERS)

Postby Xavi » Tue Sep 26, 2017 3:48 am

claaa7 wrote:
Mr. Reindeer wrote:
Xavi wrote:Later it is revealed that this "Farewell Theme" is closely connected to the Giant/Fireman/??????? and we will hear it two more times, maybe more?


When does it play in connection with the Fireman? I remember it playing again when Margaret dies. But "The Fireman" in Part 8 is a totally separate composition.


yes, we hear it over Margaret's death and over Cooper's farewell to Janey-E and Sonny Jim.. i'd say it's more of a song embodying a feeling, of loss, and having to let go, than a song that's tied to any specific character.


I'd say that Badalamenti's high pitched symphonic synthesizer music (almost like mimicking church organs sorts of themes) in each and every scene relates to that Big Guy Above, wether he's called The Giant/???????/The Fireman or not. My opinion only though.
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Mr. Reindeer
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Re: Part 6 - Don't die (SPOILERS)

Postby Mr. Reindeer » Mon Dec 25, 2017 9:34 pm

Max Von’s Bar (where Diane drinks) has a wall decoration listing cities/locations in Virginia (many if not all of which are locations of Civil War battles): Fredericksburg, Chancellorsville, Yorktown, Savage’s Station, White Oak Bridge, &c.

The exterior shot of Ike’s motel is the Hollywood Premiere Motel at 5330 Hollywood Blvd. Although the motel is supposed to be off the Vegas strip in-show, the ad for the Occidental College spring 2016 “3rd LA” event as well as the Serrano Ave. street sign are dead giveaways.

In contrast, an instance of the show paying attention to detail: when Phil rides the elevator up with Dougie, the cup with Frank’s name has a tea bag dangling from it — presumably a green tea latte, Frank’s new drink of choice!

Richard’s truck (or rather, the farmer’s truck, which Richard borrowed) has a locked trunk on the back bed. Wonder what’s inside?
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Mr. Reindeer
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Re: Part 6 - Don't die (SPOILERS)

Postby Mr. Reindeer » Wed Dec 27, 2017 8:21 am

The flip side of the “Now I know it isn’t Bob” diary entry page can be glimpsed in freeze frame as Hawk shuffles papers, and also in bleed-through when Frank is looking at the other side of the page. It is the penultimate entry from TSDoLP (talking about her safety deposit box and responses to her Fleshworld ad). This is an odd piece of discontinuity — they went out of their way to reference a page from the book which in the book continuity was NOT torn out (although it did immediately precede torn-out pages which may have contained material about Laura learning her abuser’s identity). I assume Sheryl was responsible for these references to TSD given her love for the book, and the fact that the pages appear to have been handwritten by her.

In contrast, the flip side of the Annie page is original material with Laura continuing to muse about the dream (nothing revelatory). I don’t believe we ever see the flip side of the Nancy/Halloween entry.
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Xavi
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Re: Part 6 - Don't die (SPOILERS)

Postby Xavi » Thu Dec 28, 2017 6:02 am

Most of the times when I describe very detailed observations they serve a purpose, and I would expose such purpose, according my understanding and interpretation. Just observing tiny little oddities without any clarification is like describing each molecule in the water, while possibly someone is drowning.
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Re: Part 6 - Don't die (SPOILERS)

Postby Mr. Reindeer » Thu Dec 28, 2017 9:00 pm

Xavi wrote:Most of the times when I describe very detailed observations they serve a purpose, and I would expose such purpose, according my understanding and interpretation. Just observing tiny little oddities without any clarification is like describing each molecule in the water, while possibly someone is drowning.


Elaborate theorizing isn’t the way I engage with DKL’s works. Based on years of following his work and interviews with the man, I don’t believe there is an articulable “explanation” for what we see on screen; it’s more an intuitive logic that he expressed through audiovisual means because that’s the only way it CAN be expressed. I don’t want to discount anyone else’s POV; you’ve made some interesting observations, and there’s no denying that TP:TR seems to be engaging with freeze frame/puzzle-box storytelling far more than any of DKL’s prior works (e.g., the Sarah/Jumping Man mashup). But DKL has consistently said over the years that his works are meant to wash over the viewer and make sense subconsciously, not be explainable through words/logic, and the 20,000 myriad academic interpretations of Eraserhead and INLAND EMPIRE seem to bear that out. I just don’t believe that we’re going to find the “meaning” of TP:TR, and I’m not personally particularly interested in trying.

OTOH, now that we have a true HD copy of the work, I am thoroughly enjoying exploring every corner of the world DKL chose to display onscreen. Is some of the stuff I’m observing arcane, boring and overly OCD? Probably. But it’s stuff that fascinated me, so I thought it might be of interest to at least one or two other people. For instance, the fact that tulpa-Diane’s favorite bar (and by extension her home) seems to be in Virginia fleshes out her backstory a bit and gets me dreaming about what her life might be like.

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