Part 11 - There's fire where you are going (SPOILERS)

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Mr. Reindeer
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Re: Part 11 - There's fire where you are going (SPOILERS)

Postby Mr. Reindeer » Sun Oct 01, 2017 11:02 am

So that's it for Red, right? I can appreciate most of the season's dangling threads as slice-of-life/shaggy-dog storytelling, but this one feels egregious. While the Part 6 Red/Richard scene functions as its own standalone brilliantly weird thing, his two brief scenes with Shelly feel like set-up for SOMETHING.

I know people have been tough on Shelly for abandoning her family (briefly) during a crisis to smooch her boyfriend. But honestly, if my adult daughter had stolen my car and nearly killed me earlier in the day, I might not be in the most maternal mood either.

Even if I'd hated everything else in these 18 hours, I think S3 would be worth it for the moment when DKL yells, "Dirty...bearded...men...in a room!"

Knepper has some GREAT comic reactions whenever Bradley mentions his dream ("Aggh, the dream!" "Ah fuck."). Belushi also plays all this material to the hilt ("One...certain...thing." "Cherry piiiiiiieeeeeee"). I'm a little ambivalent about the murderous Mitchums being transformed into lovable scoundrels, and Coop giving them his seal of approval in Part 16, but they are undeniably a ton of fun to watch.

I really wish Badalamenti's upbeat piano compositions had been released. I enjoy it when he gets to write in various styles, but these in particular must have been a ball for him to write ("Italian restaurant background music"), and it shows.

Probably no significance, but the mother of the kid who fires the gun is credited as "Carrie."
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eyeboogers
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Re: Part 11 - There's fire where you are going (SPOILERS)

Postby eyeboogers » Sun Oct 01, 2017 11:57 am

Mr. Reindeer wrote:So that's it for Red, right? I can appreciate most of the season's dangling threads as slice-of-life/shaggy-dog storytelling, but this one feels egregious. While the Part 6 Red/Richard scene functions as its own standalone brilliantly weird thing, his two brief scenes with Shelly feel like set-up for SOMETHING."


I actually love how they left this one. Red smuggles Sparkle into Twin Peaks. This eventually leads to Shelley and Bobby's daughter being murdered by her Sparkle addict boyfriend. What will Shelley do when she realises Red's role in this? How will Bobby react. It leaves room to dream not to mention being explosive narrative ammunition should there be a season four.
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Mr. Reindeer
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Re: Part 11 - There's fire where you are going (SPOILERS)

Postby Mr. Reindeer » Sun Oct 01, 2017 12:10 pm

eyeboogers wrote:
Mr. Reindeer wrote:So that's it for Red, right? I can appreciate most of the season's dangling threads as slice-of-life/shaggy-dog storytelling, but this one feels egregious. While the Part 6 Red/Richard scene functions as its own standalone brilliantly weird thing, his two brief scenes with Shelly feel like set-up for SOMETHING."


I actually love how they left this one. Red smuggles Sparkle into Twin Peaks. This eventually leads to Shelley and Bobby's daughter being murdered by her Sparkle addict boyfriend. What will Shelley do when she realises Red's role in this? How will Bobby react. It leaves room to dream not to mention being explosive narrative ammunition should there be a season four.


Hmmm. I like this, although we only see Steven using garden-variety cocaine ("designer drug" typically means a pill). Also, I'm not certain that Becky is dead, since Bobby in Part 17 doesn't come across as a man whose daughter was just murdered. But time is strange in this season, so it's tough to know when the Steven/Gersten scene occurs in relation to the green glove fight, I guess. Maybe it's more concurrent than the editing makes it seem.
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Re: Part 11 - There's fire where you are going (SPOILERS)

Postby ThumbsUp » Sun Oct 15, 2017 5:12 pm

Do we know what the Log Lady is referring to with where the fire is? The White Lodge/Jack Rabbit's Palace? That wouldn't make sense though because that's apparently a zone of "good"... perhaps the scene from earlier in the season when Hawk sniffs around Glastonbury Grove is out of sequence?
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Mr. Reindeer
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Re: Part 11 - There's fire where you are going (SPOILERS)

Postby Mr. Reindeer » Sat Jan 13, 2018 12:32 pm

A few observations:

Maybe I missed it, but I haven’t seen anyone mention that there is a sign for a Masonic lodge (Unity Lodge 189) in the background of the establishing shot of the Double R! Sure enough, I looked it up and this is a real location a few doors down from Twede’s. Does Mark know about this? If so, how did he resist at least mentioning it in his books? Did DKL get that shot because Frost asked him to, or in tribute to his colleague, knowing his fascinations? Is it possible the whole thing is a coincidence and neither creator even realizes that’s in the show? (DKL didn’t pay much attention to background signage elsewhere, such as Ike’s motel which is clearly in LA...a pet peeve I know I’ve mentioned before.) BTW, in reality, just next door to the Masonic lodge address in North Bend is a firearm store, presumably where Russ shops. That block is really straight out of Mark Frost’s dreams/nightmares.

Speaking of background signage, Blue Man Group is officially a part of TP canon thanks to Dougie’s stock-footage cruise down the strip. Recall that in MLMT, Cooper twice sees a man painted blue standing outside his window. I assume this will end up being key to season 4. ;)

It’s tough to tell, but Becky and Steven’s window doesn’t look like it has a hole in it yet. Is it possible that the order of the scenes was reversed in editing, and this sequence was originally meant to come before the “coffee cup” fight? That would explain why Steven is so angry, as well as his “I know what you did.” Not that sociopathic wifebeaters need to be rationally explained. (Interestingly, there are two windows in this Part that DO have holes in them — the derelict Buckhorn house and the Double R post-gunshot. No idea what to make of that, if anything.)

The way DKL shoots the inside of Becky’s & Steven’s trailer is interesting — we never really get a good sense of the space. He almost invariably uses extreme angles (kind of funny to recall how Tim Hunter got away with murder by using a single Dutch angle back in the first season) which immerse us in Becky’s hellish, disorienting mental state. It works really effectively emotionally, but I can’t help but wonder if DKL was dissatisfied with the set and trying to shoot around it.

It’s a real pity that neither Showtime nor Michael Horse seems to be selling prints of Hawk’s map. I’d love to hang one on my wall as a companion piece to the DKL-painted Twin Peaks map.

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