Part 6 - Don't die (SPOILERS)

[Mr. Reindeer]

I don't find it hard to believe that no one replaced two screws on a door that was still firmly held together by like 20 more screws. Doesn't seem like much of a priority.

[thunderclap82]

There is no season 4

If I'm not mistaken, Lynch has said he's open to it but it all comes down to how well Season 3 does.

[EwanM]

Just rewatched episode 6 and it's still my least favourite episode so far, by a distance. I've loved almost everything about the first five instalments, so I won't be joining the ranks of the disenchanted just yet, but I found myself strangely alienated by Ep6 (Jeremy Davies' hair and performance apart: both were hilarious).

The first third is given over to a very long, slow-moving DougieCoop and Janey-E scene, and while I don't dislike DougieCoop (there are touching, gentle moments of grace and goodness to be found within these scenes), I'm becoming a little impatient that so much screen time is devoted to this highly improbable domestic set up. I want to know what's happening with Bill Hastings in Buckhorn, South Dakota; what on Earth is going on in Buenos Aries; and when, and how, DoppelCoop is going to break himself out of prison - and that's without even mentioning Becky and her cokehead boyfriend and the rest of the Twin Peaks dimension. I honestly can't figure out why Janey-E was ever attracted to the philandering, gambling nonentity Dougie in the first place (a burnt-out shell of a man so seemingly devoid of charisma and intellect that this insipid facsimile of Dale Cooper can slip so seamlessly into his place), let alone comprehend why she might stick with him as his debts and infidelities pile up. I have a feeling we're stuck with DougieCoop for the long haul, and I've already buckled myself in for that particular ride, but it feels like we're watching a show within a show here, and the other show is more interesting. When the vision of Phillip Gerard tells Coop to 'Wake Up'', I was reminded of the Cowboy in Mulholland Dr. ('Hey, Pretty Girl, time to wake up'), and I remain convinced that this is not a nightmare that he's going to awaken from any time soon. I suspect DougieCoop is going right down to the wire, with Diane helping to put Coop back together again, bit by bit.

Adored the brief scene with Albert finding Diane. 'Fuck Gene Kelly, you motherfucker!' was priceless. The Dern / Lynch connection always delivers. Can't wait for this aspect of the show to get moving, at last.

The scene with Red and Richard Horne was great. Typical Lynch voodoo. Made no literal sense, but it was by turns sinister, funny and just plain weird. I loved that, for all Red's bizarre behaviour, the thing that seemed to discomfort Horne most, before the coin ended up in his mouth, was when Red asked him, 'Did you ever see the movie The King and I?'

Still don't really 'get' the hit and run though. I can understand a few of the points that Lynch seems to be making here - the randomness of fate, the banality of evil, but the scene is just 'off', in so many respects. I can almost appreciate the pitch black humour: Red's dismissive putdown of Richard as a 'kid' ties into the extinction of innocence of the accident. Horne annihilates the kid that he clearly still is, and resents being. The stagey, over-stylised lead-up to the accident, portentously signalled well in advance; the unrealistically cosmetic injuries suffered by the victim, and the hammy reactions of the witnesses, suggest that Lynch is using this scene primarily as metaphor, and perhaps meta commentary on the soapy earnestness of the original Twin Peaks. The whole town had so much invested in Laura Palmer, but here we don't even know this poor kid's name, and it seems likely that we may never find out. He's just roadkill. I understand that the incident is used as a device to signal Carl Rodd's essentially compassionate nature, and his gift for seeing things that others can't, and yet it still seems completely gratuitous.

I had a similar reaction to Ike 'The Spike's rampage. This scene is so tastelessly handled it could have come straight out of a Tarantino movie. Lynch is rarely quite so graphic in his depiction of violence, he is the master of mood and insidious dread; here he plays it for shock value and cheap laughs. Ike bent his spike. 'Hilarious.' I refuse to believe that Lynch is simply imitating Tarantino and his ilk, or stepping up to the post-GOT template for TV barbarism. Charitably, I'm hoping it's just another meta moment. Given the freedom to do exactly what he wants on Showtime, I love that Lynch has been relatively restrained, up until now at least.

All in all, this came off as an ugly, charmless episode. Even the song in the roadhouse at the end was mournful. The revelation that the Trumans' son had committed suicide (and Chad's crass reaction to it) was both in keeping with rest of the episode, and yet divested of impact and meaning by much that had preceded it. The law of diminishing tragic returns: Tragedy heaped upon tragedy until it mutates into dark comedy, and eventually banality.

Even the 'light relief' was dark: Heidi and Miriam in the Double R was torture - Heidi's laugh sounding more discordant and irritating than ever, reminding me of the cackling old couple in Mulholland Dr.

Much of Ep6 reminded me of the Deer Meadow segment in FWWM, and the proximity of the Fat Trout trailer park to Twin Peaks these days suggests that the two have morphed into one, but the ugliness of the Deer Meadow prelude was of a more subtle, insinuating kind than that on display here IMO.

I generally prefer Lynch's darker, more nightmarish works to the reductive dualism of the original Twin Peaks and Blue Velvet: a world in which the saccharine 'light' is as stylised and unrealistic as the terrifying 'dark' - so this episode's preoccupation with darkness wasn't really the issue here. Yes, it was dark, discordant and dissonant, but it was also unsubtle and heavy-handed. Contrived plot devices, featuring hastily-introduced characters, isn't exactly new territory for Lynch (I've never really bought into Bob, he struck me as the ultimate deus ex machina), but the hit and run scene seemed far too (deliberately) clumsily executed (not to mention far too lazily reductive a method of signalling the abjectness of Richard Horne and the essential goodness of Carl Rodd), to be anything other than a meta commentary on the original show. I don't believe Lynch is trolling us, but he's hardly masking his wilfully contrarian tendencies.

Ep6 contained none of Lynch's characteristic rhapsodic flourishes. Lynch invariably finds not only evil beneath the Norman Rockwell-like surface of small town life, but beauty too. Becky's cocaine high; the other-worldly ethereality of the casino showgirls. These moments leaven the dread and hint at transcendence, but there was little subtlety, or even surreality, in Episode 6. We were meant to experience discomfort from start to finish, and Lynch was quite prepared to hit us with a metaphorical truck to do it.

[yaxomoxay]

I don't find it hard to believe that no one replaced two screws on a door that was still firmly held together by like 20 more screws. Doesn't seem like much of a priority.

Nope, I am right. S2E3, when Coop opens the doors you can clearly see that there is absolutely no damage.

The door Hawk opens doesn't even open the same way it did 25 years ago (now it's outwards, 25yrs ago it was inwards).

Edit: I wonder if Linda is the one that put the notes in there. The stall Hawk finds the notes in is for easy access in a wheelchair, which means that now the restroom is compliant with 1990's American Disability Act. That was NOT true in the Original series I think. The easily accessible stalls usually have a much broader door than normal stalls (used by Mike in S2).

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[Hockey Mask]

If those are indeed the pages from Laura's diary, I would really like an explanation of how they got into the men's bathroom and how they hadn't been discovered for 25 years. I'm fine with mystery and not having all the answers, but this one would really bother me because it would feel just too convenient.

How many bathroom stall doors have you taken apart in the last 25 years?

Zero before last week... since then all of them !

You are a f'n genius!!!

[mtwentz]

Patience grasshoppers. The story is going to unfold slowly- we have 12 episodes to go and then it will be over. We have been given a bottle of fine expensive wine, and we are trying to chug it like Ernest and Juiio Gallo. Let's sip it slowly, and enjoy its flavor.

I for one am enjoying the Dougie -Jane-y scenes. And yeah, there are a lot of questions to be answered, but remember it's not the destination, it's the journey. Everything in its own good time.

[yaxomoxay]

How many bathroom stall doors have you taken apart in the last 25 years?

Zero before last week... since then all of them !

You are a f'n genius!!!

Ahahha Thanks.
Seriously speaking, I work at a PD and the stall doors are of the very same color. Now I can't look at them the same way I did until last Sunday 7:59pm
I have to stop watching this thing if I want to keep my sanity.


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[Mr. Reindeer]

A couple good articles (posting in this thread due to the higher probability that more people will see):

Showtime marketing head talks about DKL nixing their entire strategy (I'd love to know exactly what they proposed): http://www.indiewire.com/2017/06/twin-p ... 201841868/

Michael Horse discusses the show and his role: http://www.hollywoodreporter.com/live-f ... ew-1013513

[asquideatingdough]

Zero before last week... since then all of them !

You are a f'n genius!!!

Ahahha Thanks.
Seriously speaking, I work at a PD and the stall doors are of the very same color. Now I can't look at them the same way I did until last Sunday 7:59pm
I have to stop watching this thing if I want to keep my sanity.


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I have been in hardcore analysis mode since May 21st. I am questioning everyday things as if they have an alternate meaning behind them. Also, having a hard time sleeping because of this show.

Long story short, I feel you!

[yaxomoxay]

You are a f'n genius!!!

Ahahha Thanks.
Seriously speaking, I work at a PD and the stall doors are of the very same color. Now I can't look at them the same way I did until last Sunday 7:59pm
I have to stop watching this thing if I want to keep my sanity.


Sent from my iPad using Tapatalk

I have been in hardcore analysis mode since May 21st. I am questioning everyday things as if they have an alternate meaning behind them. Also, having a hard time sleeping because of this show.

Long story short, I feel you!

For real!
In any case, between TP and sanity, I choose TP.



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[Hockey Mask]

After watching the first four hours straight the first night I felt like I had a hangover for two days. I think I was brutalized.

[Mr. Reindeer]

I don't find it hard to believe that no one replaced two screws on a door that was still firmly held together by like 20 more screws. Doesn't seem like much of a priority.

Nope, I am right. S2E3, when Coop opens the doors you can clearly see that there is absolutely no damage.

The door Hawk opens doesn't even open the same way it did 25 years ago (now it's outwards, 25yrs ago it was inwards).

Those kind of inconsistencies are pretty common in instances where a TV show retcons a moment years after the fact (if that is in fact what's going on). If it does turn out that Mike left the pages, I think it's very unlikely that DKL and Frost planned that to be the case way back in 1990. While we're at it, seems pretty unlikely that Gerard brought a screwdriver and the diary pages with him on his shoe selling appointment. It will definitely be a tad silly/inconsistent if that's the direction they go, but I don't terribly mind. There would be a Peaksian kind of logic to the whole thing.

[mtwentz]

A couple good articles (posting in this thread due to the higher probability that more people will see):

Showtime marketing head talks about DKL nixing their entire strategy (I'd love to know exactly what they proposed): http://www.indiewire.com/2017/06/twin-p ... 201841868/

Michael Horse discusses the show and his role: http://www.hollywoodreporter.com/live-f ... ew-1013513

This I find really interesting:

“I think we did it,” he said. “‘Twin Peaks’ broke all kinds of records for us for single-night subscriber acquisition. I think it helped cement the brand quite a bit. We still have 12 parts to go. We’ll see what happens then. It was a challenge and a negotiation.”

Maybe Showtime is not as concerned about 'ratings' as we think they are?

[Hockey Mask]

I don't find it hard to believe that no one replaced two screws on a door that was still firmly held together by like 20 more screws. Doesn't seem like much of a priority.

The door Hawk opens doesn't even open the same way it did 25 years ago (now it's outwards, 25yrs ago it was inwards).

What do you have against swinging both ways!

[yaxomoxay]

I don't find it hard to believe that no one replaced two screws on a door that was still firmly held together by like 20 more screws. Doesn't seem like much of a priority.

Nope, I am right. S2E3, when Coop opens the doors you can clearly see that there is absolutely no damage.

The door Hawk opens doesn't even open the same way it did 25 years ago (now it's outwards, 25yrs ago it was inwards).

Those kind of inconsistencies are pretty common in instances where a TV show retcons a moment years after the fact (if that is in fact what's going on). If it does turn out that Mike left the pages, I think it's very unlikely that DKL and Frost planned that to be the case way back in 1990. While we're at it, seems pretty unlikely that Gerard brought a screwdriver and the diary pages with him on his shoe selling appointment. It will definitely be a tad silly/inconsistent if that's the direction they go, but I don't terribly mind. There would be a Peaksian kind of logic to the whole thing.

I am not sure that this is random. Obviously Mike bringing a screwdriver is somewhat unreasonable (unless he has a swiss knife or something always with him).
The reason for me that this is not random is that we're left thinking that the restroom is the same, just slightly restructured. No one fixed the thing for 25 years.
Yet:
- they added a shower
- they restructured the restrooms (from five or six stalls to two)
- they replaced the floor (from red to green; or viceversa, sorry I don't have the video with me now).

If you want my opinion, I think that this is a completely different restroom, for staff only. I am fine with production just "missing" the damage from 25 years ago. But a full restructure for everything except that corner of that specific door without recreating anything else? I don't think it's reasonable.
We were focused on the coin, the key was the much bigger floor.

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