Part 12 - Let's rock (SPOILERS)

[Agent Sam Stanley]

as crazy as it sounds i wonder how little Nicky grew up

He evolved into Wally Brando and Lucy and Andy decided to adopt him.

[Agent Sam Stanley]

Why was Beverly crying???

Her husband can't ride bikes anymore

[Agent Sam Stanley]

I'll take a James/Evelyn scene with awesome Badalamenti music over a throwaway scene of some randos at the Roadhouse that I don't know or care about talking about never-mentioned characters. Having said that, I'm still enjoying the new show. But there are some scenes here and there that have me saying wtf.

I wouldn't mind those scenes if we had more than 6 hours to finish the new series.

[musicaddict]

I don't think it's been posted on here but somebody on Reddit mentioned that the sand in the hourglass doesn't change throughout the Audrey/Charlie scene, so a potential 'stuck in time' clue there along with many others. I'm starting to be more and more persuaded by this idea, but as the above poster points out, it doesn't feel like the sort of thing L/F would do, or rather it doesn't feel like the way they would do this.

Yes, the sand didn't seem to change throughout the scene as if no time was passing at all (or time is passing so slowly that we cannot observe the change). The sand is almost run out and Charlie was talking about a deadline. I'm curious what the deadline is for.

The Rancho Rosa intro this episode was pink/red.

The A's are always red except for Part 8 where the intro was black and white. However, this was the only episode beside Part 8 where the RR was in reversed colours (light RR letters on dark background instead of dark on light), which suggests something was up. Maybe it has to do with Sarah's warning ("Men are coming").

I wasn't referring to the 3 A's I mean the actual background behind the words Rancho Rosa was red/pink and this has been changing for every episode throughout the series.

[referendum]

it would be funny if all this moaning about not tying plot strands up '' in only 6 hours'' was merely a foreplay to an already signed up to S O4 -

[Audrey Horne]

My apologies... I type most of this from an iPad now, and can't figure out how to quote multiple people, or anything complicated beyond a normal post here.

Even with the Audrey scene out of the equation, I'm surprised by how critical people are with this installment, as if it were vastly different from previous ones. I thought it was pretty succinct, and also giving us mostly familiar faces. Carl having a heart of gold has been one of the nicest surprises throughout the whole thing. Grace continuing to do stellar work. The deadpan of Albert. I loved the Dougie scene...its briefness, though played for a laugh, told us all we needed in terms of bonding with his son. And Richard Beymer. Beymer was one person I really thought with everything I knew was only going to have a cameo, but the material he's been given along with his ease have just been lovely. He's always been one of the more under appreciated jewels of the series.

In regards to the question of whether or not I would be disappointed in Audrey's storyline if it does turn out to be literal. This is hard to answer. I'll say more about it when the show is over in a month. But here's the thing... I think we are going to be left with many elements of this show not spelled out and defined. We might get more scenes of Audrey (or anyone of the characters and their arc in general) that when juxtaposed to her previous one throws the viewer for a loop, and one has to reevaluate. But I don't think many things will be spelled out for us.

For example, for someone like Richard Horne I've said I can see his last scene involving him completing some horrible act (yet again) but somehow feeling real emotion and shame or sadness (theoretically being in an episode where Cooper becomes whole again.) And we for years draw our own conclusions. So some viewers will take it at face value and scratch their heads at why that psychopath is crying, etc. Or a pairing of Bobby and Shelly perhaps not having a traditional reuniting scene and take it at face value. I feel the whole Return will leave people frustrated on initial viewings, but ultimately because it is not being defined each individual can bring and take what they want out of it. Right now, Audrey's scene works both as a frustrated married couple in a contracted loveless marriage, and as a strange purgatory where Audrey is in her own Red Room with her version of a Giant giving her clues and guidance.

I will say though it was not a punishment for an actor.

[DamnFineCreamedCorn]

If only Part 12 had been titled "Keep the blood," or maybe "It's a goddamn bad story." Anything other than "Let's rock." I know it's foolish to build expectations upon snippets of contextless phrases, but I would have enjoyed the shock of hearing Diane utter these words without the knowledge that somebody was going to speak them.

[Ragnell]

One thing that i noticed about this ep ( i haven't rewatched it ) was a sense of storm clouds gathering. People have been talking about lynch trolling people letting scenes go on for too long, etc, but earlier in the series when this happened, the spades painting, or the roadhouse sweeping, these were moments of calm where you took a breather. Here, all the gaps were clotted with too many words, or too much extraneous information, or more music than usual, or the ' red room ' backwards sound effects. There was a sort of detail overload, and a deliberate awkwardness to alot of the scenes that has frustrated people. An idea that springs to mind is ' delayed gratification ' - '' the ability to forgo short-term reward in favor of a higher payoff in the future''. ( https://en.wikipedia.org/wiki/Delayed_gratification ). Seen in this way, the repetition of Jacoby rant ( + extra Nadine being excited ), the Lynch hotel room with woman ( the ludicrously slow hyper sexualised exit,see you in the bar later, the fussing by the door ), the Audrey telephone call, the Diane phone scene that the co-ordinates are in Twin Peaks, the 'what don't we know about Vegas? Cole/Albert scene, Roth and Leigh being ready to set off for their double Vegas hit, Sarah's outburst about things that were about to happen ( men are coming here, etc) and the ominous visit to her house where we are not allowed through the door, all add up to a sense of expectation that is never met.

There were a couple of grace notes, like the Truman/ Ben Horne scene and the Carl Rodd ' don't sell your blood' scene, but the rest of it was like a series of builds towards something we KNOW is going to happen ( return to TP, return of Coop to self, getting bad Coop and FBI to Twin Peaks, etc), we are impatient for it happen and to find out how it plays out, but...for now we have to wait until the time is right. And we even have a date for that to happen, the night of Saturday 01/02 october. And we are shown Dougie Coop playing / not playing catch still in all innocence on the morning of Sat 01 oct. What I got from this episode was a sense of imminence, the repeated delaying tactics deliberately winding up the tension before the inevitable showdown.

Of course, if fuck all happens next episode aswell, everything I wrote above will have proved to be wishful thinking

Yeah, this is pretty much the feeling I got, that it's the calm before the storm, that it's like a catapult being pulled back ready to launch something, and we'll be propelled into a sort of Third Act, after the Second Act that essentially bridged everything between the man sweeping, at the end of episode 7 and the man vacuuming, at the end of this episode.

Lots of really major events (aside from the discovery of a portal and the related skull crushing) seems to have happened in episodes six and seven - Ike's rampage and defeat by Cooper, Richard's hit and run, Jerry getting lost in the woods, Hawk's discover of the diary pages, Ben receiving the lost hotel key, Mr C's meeting with Diane and subsequent escape, and everything since has been a slow follow up to those events with no real pay-off. In this episode at least Mr C finally got his revenge on the warden, Jerry finally gets out of the woods, Richard is finally acknowledged as the hit and run driver whilst the hotel key finally falls into the Sheriff's hands.

I think everything will start to build up speed from this point on but, yes, it'll be kind of embarrassing if we're still driving around in circles next episode.

It reminds me of the reaction to Part 10, which was also short, which was packed to the brim with human misery. And the scene that started Part 11 was Miriam being alive, showing that there WOULD be justice for Richard's actions. And Part 11 features as many plots with good guys advancing as Part 10 featured of villains advancing: Shelly and Carl intervening with Becky, Bobby getting called in to help his daughter and then taking control in that panicking traffic situation, to the wonderful Las Vegas sequence that shows that even sleepwalking, Dale Cooper is building friendships and prevailing.

Part 12 was also short. And also extremely frustrating. I expect a similar mood reversal in Part 13 too. I don't know if it'll be giving us more plot advancement, or a better sense of calm and ease, though.

[rocketsan22]

it would be funny if all this moaning about not tying plot strands up '' in only 6 hours'' was merely a foreplay to an already signed up to S O4 -

Are there enough die hard fans to make it worth Showtime's time? Surely they are alienating casual viewers with some of what has been broadcast...

[bastia]

At the end of episode 2 there is a woman in roadhouse who really look like the one who's talking at the end of episode 12. And there are a man and woman dancing really close to each other (practically making out ), you can see them just after james entered. Actually you see a litle of them even in the frame of shelly's friends.

Don't know if it means anything, but it is a nice continuum

[Ross]

At the end of episode 2 there is a woman in roadhouse who really look like the one who's talking at the end of episode 12. And there are a man and woman dancing really close to each other (practically making out ), you can see them just after james entered. Actually you see a litle of them even in the frame of shelly's friends.

Don't know if it means anything, but it is a nice continuum

All the Roadhouse scenes were shot on the same day.

[bastia]

At the end of episode 2 there is a woman in roadhouse who really look like the one who's talking at the end of episode 12. And there are a man and woman dancing really close to each other (practically making out ), you can see them just after james entered. Actually you see a litle of them even in the frame of shelly's friends.

Don't know if it means anything, but it is a nice continuum

All the Roadhouse scenes were shot on the same day.

Really? That sounds like a difficult job to accomplish ahah!

How do you know?

[asmahan]

At the end of episode 2 there is a woman in roadhouse who really look like the one who's talking at the end of episode 12. And there are a man and woman dancing really close to each other (practically making out ), you can see them just after james entered. Actually you see a litle of them even in the frame of shelly's friends.

Don't know if it means anything, but it is a nice continuum

All the Roadhouse scenes were shot on the same day.

Really? That sounds like a difficult job to accomplish ahah!

How do you know?

I thought all the band performances were shot on the same day? The dialogue scenes are clearly weren't shot with the actual bands in the background.

[Jonah]

All the Roadhouse scenes were shot on the same day.

Does that include the music sequences - or were those performances captured on another day(s)?

[Mr. Reindeer]

Dean Hurley said all the Roadhouse musical acts were shot in one day, I believe. He didn't say whether the dialogue scenes were shot that same day, although I doubt it -- that's already a jam-packed production day just doing all the musical acts. Presumably, the dialogue scenes were all shot around the same time as each other and likely reused extras, of course.