World of Blue - Archived Forum 2007-2022

Saturn's child wrote:

Mr. Reindeer wrote:Sheryl Lee continues to have the most unearned weekly credit possibly in TV history. (I adore Sheryl and wish we were seeing a LOT more of her, but it's absurd that she has been in one new scene all season and received credit on 13 episodes).

Have faith. I'm predicting we all discover secret Laura scenes in parts 4 - 13, hidden in various obscure reflections, which -- after lightening them -- show an amazing performance from Sheryl Lee.

I bet we've seen Sheryl Lee heavily made up to obscure her appearance in the following roles:

- Lorraine
- One of the Woodsmen
- One of the henchman at the farm
- Beulah
- Charlie

sewhite2000 wrote:

Ragnell wrote:

sewhite2000 wrote:Sigh.

People went insane about the flashing windows on the airplane. People went insane over the glitch as Tammy walks down the hall toward Gordon's motel room door. People went insane over the changing patrons in the Double R. People went insane over an apparent glitch in the movement of the head or the way the blood sprayed when Evil Coop killed Hastings' wife. People went insane over Miriam's last name being different on the envelope than in the closing credits.

How many of these have ever been referenced again or turned out to have any significant meaning in the show?

Why, then, is everyone sure that a little oddity in Ed's reflection is The Most Significant Moment in Television History?

Because Ed reacted to it.

Please describe to me how Ed reacted to it. All I saw was him continuing to stare into space and burn something.

I'm not sure if he reacted to it, but the reason I think it's legit is because I feel like Lynch is playing with time. First, organizing the latest parts (10 thru 13) by theme rather than chronology, which also is becoming increasingly disorienting, which has in turn led me to wonder if maybe there is something plot-related occurring within the jumble of events as time seems to continually double back on itself. So after seeing the TV looping in Sarah's bedroom and then catching Ed's reflection, it truly makes me think something strange is happening with time. Possibly, that there may be an alternate version of events occurring, which could finally account for the inconsistencies in TSHOTP. It could also tie back in to the changing customers in the RR in Part 7. It just makes a lot of sense with what we've seen.

At any rate, the reflection IS there. Big Ed himself is in the shot, and his reflection is doing something different. It seems to be one shot, and the only reason a glitchy reflection is there is because it was inserted. (I don't buy the theory that they inserted a different shot of the windows for the scene and didnt notice Ed's reflection...like I said, Ed is in the foreground of the shot.) The reflection could simply be symbolic, but I don't believe it is a mistake. So we have to debate what it means, as it must mean something.

Electric Tree wrote:I'm staying in the "there's nothing to the final Big Ed scene except a guy who's mulling over his life and losses" group. People are looking for (and apparently finding) something that isnt there.

But how can that reflection be an editing mistake?

I'm still a bit confused about Norma's and Eds situation. At one point during dinner at the RR, I heard Norma call Ed "babe", or maybe it was vice versa. They interact as if they are spouses. Yet when the slick guy shows up, he seems to be romantically familiar with Norma....yet when they talk, he seems pretty salesman-y and maybe not her boyfriend. Then he invites her to dinner, which she accepts. And then the romantic overtones resurface. And all the while, Ed watches on a bit jealously. Not to mention, Norma and the salesman kiss on the lips and Ed dismisses himself so they can "talk business". And then of course we see Ed sitting by himself all lonesome later....but still, a bit confusing and more than a little vague.....

Aerozhul wrote:I'm still a bit confused about Norma's and Eds situation. At one point during dinner at the RR, I heard Norma call Ed "babe", or maybe it was vice versa. They interact as if they are spouses. Yet when the slick guy shows up, he seems to be romantically familiar with Norma....yet when they talk, he seems pretty salesman-y and maybe not her boyfriend. Then he invites her to dinner, which she accepts. And then the romantic overtones resurface. And all the while, Ed watches on a bit jealously. Not to mention, Norma and the salesman kiss on the lips and Ed dismisses himself so they can "talk business". And then of course we see Ed sitting by himself all lonesome later....but still, a bit confusing and more than a little vague.....

Didn't you watch the original Twin Peaks lol

thedarktrees wrote:

thedarktrees wrote:

Skip Bittman wrote:
He didn't have the ring, Ray got it from a man dressed as a guard at the prison and pulled it out of his pocket to show Doppelcooper.

Eeesh, right. So we're supposed to presume this fake guard is really a woodsman, then I guess?

In FWWM, isn't it LMFAP that offers the ring to Laura in a dream?.... So the electrical skeleton tree must have had one hell of a good guard costume to set up this hand-off to Ray.

What? No...didn't they take the ring off Briggs in the Buckhorn Medical Examiner's office?

Snailhead wrote:
I bet we've seen Sheryl Lee heavily made up to obscure her appearance in the following roles:

- Lorraine
- One of the Woodsmen
- One of the henchman at the farm
- Beulah
- Charlie

Excellent!

My theory is that Laura's spirit is possessing Albert & over the next episodes we'll see him gradually morph into her, starting with surprising changes to his hair. Cole will take this in his stride; Tammy will be too uncertain of herself to comment.

All this seems pretty obvious given Cole's vision of Laura at the door to his hotel room.

ScarFace32 wrote:

Electric Tree wrote:I'm staying in the "there's nothing to the final Big Ed scene except a guy who's mulling over his life and losses" group. People are looking for (and apparently finding) something that isnt there.

But how can that reflection be an editing mistake?

The shot is likely a composite of two different takes or perhaps even two different times in the same take. I don't know how often this technique is used. I know David Fincher likes to do it a lot, for example if he likes one actors performance in one take and another's in a different take, he'll use both takes and composite them. Theoretically if Lynch liked the back of Big Eds head in one take and liked the cars in another the reflection could be a result of an editing mistake. But given how little is going on in the shot, it seems unlikely that anything other than the reflection was the reason for the composite.

Ray was instructed to put the ring on Mr. C before he killed him. This suggests the ring would have returned him to the Black Lodge, as it did Dougie and Ray.

Mike is probably responsible for getting the ring to Ray. He seems to be posing as Phillip Jeffries imo.

If Bowie couldn't appear, then they may have decided to cut Jeffries and just have Mike adopt the identity to go after Mr. C.

AgentEcho wrote:

ScarFace32 wrote:

Electric Tree wrote:I'm staying in the "there's nothing to the final Big Ed scene except a guy who's mulling over his life and losses" group. People are looking for (and apparently finding) something that isnt there.

But how can that reflection be an editing mistake?

The shot is likely a composite of two different takes or perhaps even two different times in the same take. I don't know how often this technique is used. I know David Fincher likes to do it a lot, for example if he likes one actors performance in one take and another's in a different take, he'll use both takes and composite them. Theoretically if Lynch liked the back of Big Eds head in one take and liked the cars in another the reflection could be a result of an editing mistake. But given how little is going on in the shot, it seems unlikely that anything other than the reflection was the reason for the composite.

But the back of Ed's head and his view of the window are the same frame....

Edit: Oh you are saying they could have superimposed Ed and the desk on a different shot of the window. But like you said doesn't really make sense. I think because of how prominent Audrey's reflection was above Charlie it is almost surely intentional

Mr. Reindeer wrote:

Snailhead wrote:Yeah, Sherilyn was great. I was unsure of her performance in part 12 on first viewing, but she was so so good in this one.

Here's a very strange thing I will share - despite the wretched characters they play, I find myself quite attracted to Richard Horne and Ray. What's wrong with me?!

Forgot to mention -- Richard slinking unexpectedly out of the ranks of Renzo's men to stare at the screen was almost on par with the Woodsmen descending on Mr. C. Gloriously creepy, unexpected and snakelike. Farron is joining the ranks of Hopper, Blake and DaFoe as an all-time DKL villain.

I didn't even know who Farron was, until I read an article on him, and he is Australian. It's been an awesome performance so far. Intrigued how he just shows up in that scene. Must have been him driving erratically that night in TPs.

I thought Lynch was trolling us with both, the LVPD dudes making a connection between Dougie and Coop and instantly binning the results, and of course James' song.

I really liked the episode but am still wondering how this will play out with only 5 hrs left and some minor spoilers I read about part 14. Time is certainly running out!

Aerozhul wrote:I'm still a bit confused about Norma's and Eds situation. At one point during dinner at the RR, I heard Norma call Ed "babe", or maybe it was vice versa. They interact as if they are spouses. Yet when the slick guy shows up, he seems to be romantically familiar with Norma....yet when they talk, he seems pretty salesman-y and maybe not her boyfriend. Then he invites her to dinner, which she accepts. And then the romantic overtones resurface. And all the while, Ed watches on a bit jealously. Not to mention, Norma and the salesman kiss on the lips and Ed dismisses himself so they can "talk business". And then of course we see Ed sitting by himself all lonesome later....but still, a bit confusing and more than a little vague.....

Very odd that scene. I was more intrigued as to why Bobby thought he was interrupting something between Ed and Norma, when he went to the table. Surely, given Shelley works with Norma, and how often he is at the Diner, he would know that there was nothing going on between them? At times I feel like there is dialogue, such as this, that is more to spell things out the viewers. Or we have something really weird going on that is impacting the residents in town. Ben's discussion with Truman, and the key, was another example, we knew that Harry was Frank's brother.

dronerstone wrote:I thought Lynch was trolling us with both, the LVPD dudes making a connection between Dougie and Coop and instantly binning the results, and of course James' song.

I really liked the episode but am still wondering how this will play out with only 5 hrs left and some minor spoilers I read about part 14. Time is certainly running out!

It will, next week!

i occassionally miss Mary Sweeney's presence..