Part 15 - There's some fear in letting go (SPOILERS)

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baxter
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby baxter » Sat Aug 26, 2017 11:18 pm

For me, the endless wait for episodes each week has given way to a desire not to have this over. I can't believe that within 8 days or so, the whole thing will be done. I even think it's time for a "Profoundly disappointed that TPTR is nearly over" thread.

Thus, the fact that there are spoilers out there for this weeks episode finally doesn't give me a horrible feeling of being desperate to see them whilst resisting. I want to savour the sensation of waiting for new Twin Peaks while I still can!

I've held off a rewatch since that's my plan to relieve the depression when it wraps up next week. I've seen them all twice though.
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Mairzy
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Mairzy » Sat Aug 26, 2017 11:38 pm

Just seen 16 via NowTV. Super!
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homieonice
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby homieonice » Sat Aug 26, 2017 11:50 pm

why can't the Aussie services drop Parts a day early!!!

It'd be great to be able to catch it Sunday night for once!
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Cooperscoffeecup » Sun Aug 27, 2017 12:08 am

homieonice wrote:why can't the Aussie services drop Parts a day early!!!

It'd be great to be able to catch it Sunday night for once!


You stole my post! :lol:

I was just about to say the same thing. I checked Stan twice now hoping they had dropped it.
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Deep Thought
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Deep Thought » Sun Aug 27, 2017 6:37 am

I hope there is some sort of twist to the title phrase in tonight's episode, because "the past dictates the fuuuture" is a truism.
"E.g." means "for example". What I think you want to say is "i.e.".
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Jerry Horne » Sun Aug 27, 2017 10:03 am

Deep Thought wrote:I hope there is some sort of twist to the title phrase in tonight's episode, because "the past dictates the fuuuture" is a truism.


Tonight is 'No knock, no doorbell'.
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frompureair
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby frompureair » Sun Aug 27, 2017 10:52 am

My guess is this title has something to do with how to access the Lodge. Maybe even a certain lawman driving through a certain type of field in a certain direction lol
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby RainingPostToasties » Sun Aug 27, 2017 11:02 am

Feels pointless for me to conjecture about Part 16's title when a lucky handful have already seen it to confirm or deny, but...

My first instinct about the phrase "No knock, no doorbell" was that Janey-E is confronting Hutch and Chantal about them barging in. "Who do you think you are, just kicking down my door and coming in here—no knock, no doorbell!? Were you raised in a barn?"
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Deep Thought
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Deep Thought » Sun Aug 27, 2017 11:12 am

Probably this has already been brought up, but I saw this pic of Mrs. Tremond and thought maybe these two are one and the same.

Door Lady Person 1.jpg
Door Lady Person 1.jpg (26.31 KiB) Viewed 1040 times
Door Lady Person 2.jpg
Door Lady Person 2.jpg (23.64 KiB) Viewed 1040 times
"E.g." means "for example". What I think you want to say is "i.e.".
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Ragnell
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Ragnell » Sun Aug 27, 2017 11:18 am

RainingPostToasties wrote:Feels pointless for me to conjecture about Part 16's title when a lucky handful have already seen it to confirm or deny, but...

My first instinct about the phrase "No knock, no doorbell" was that Janey-E is confronting Hutch and Chantal about them barging in. "Who do you think you are, just kicking down my door and coming in here—no knock, no doorbell!? Were you raised in a barn?"


If that is it, and it results in Hutch being offended and arguing with her, giving Coop time to fully wake up, that will be gold.

I was thinking Hutch or Chantel say it when they get to the house and go over their plan of action.
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Ragnell
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Ragnell » Sun Aug 27, 2017 11:21 am

Deep Thought wrote:Probably this has already been brought up, but I saw this pic of Mrs. Tremond and thought maybe these two are one and the same.

Door Lady Person 1.jpgDoor Lady Person 2.jpg


I don't think they are, but they're serving the same purpose. It looks like anyone who accesses these areas needs to have a spirit opening certain doors for them.
Laura had both the Tremonds.

I'm inclined, despite Red's similarity to the Grandson, to think the Tremonds still appear as a set if they appear.
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby EwanM » Sun Aug 27, 2017 11:36 am

Episode 15 was tremendous. Other than Ep8 (and the first 15 mins of 3), the best of the series so far.

Adored the Big Ed / Nadine / Norma sequence. Masterfully directed, this scene, on the surface at least, played out like a trite 'happy ending', a merciful release from the limbo that all three have been locked in for more than 25 years, but, nonetheless, it was suffused with tension, and an unshakeable sense of dread.

Nadine's abrupt awakening seems off: opportunism masquerading as selflessness. Faux-altruism unleashed by a snake oil salesman's illusory panacea. Dr Amp might offer the tantalising prospect of transmutation, but he's peddling fool's gold. His enlightenment is of the pitch black variety.

Otis Redding's 'I've Been Loving You Too Long' is perfect. Ed has loved Norma too long, from afar, locked in a stasis as suffocating as the frozen lake entombing Audrey and Charlie. Norma's child-bearing years have passed her by, the Double R clientele destined to remain her only 'family'. 'Enjoy the rest of your lives together' Nadine tells Ed. This long-delayed glimpse of happiness, as life's seasons turn from autumn to winter, is bittersweet. Trapped in Tartarus, the fruit Ed craved for so long has withered on the vine. Norma's chilling, 'Ed, I'm so sorry, Walter's here', delivered as the song glitches, the record spinning almost soundlessly in place, reminds us of the fickleness of fate, and the paper-thin margins between love and heartbreak, heaven and hell.

Momentarily, as Ed talks of cyanide pills, the red curtains ripple, a vortex opens in the sky, and a Black Lodge demon sits atop a staircase, ready to feast on pain. The world spins once more, and as Norma sends Walter packing, the stylus rediscovers the vinyl's groove, and then her hand falls tenderly on Ed's shoulder. As Otis reaches a crescendo, we gaze up into the beautiful blue sky. It's far from cloudless, and as the elements deliberate whether to align themselves with good or evil, the record once more echoes with foreboding.

Always enjoy Mr C's Lost Highway-style night drives. Mr C as Captain Willard, voyaging up the 'Nung River', heading straight into the Heart of Darkness. Phillip Jeffries is The Return's Colonel Kurtz, a bloated, unrecognisable corruption of a once highly-regarded figure, lured by the darkside; a hollow man given to enigmatically cryptic utterances; the 'better angels of his nature' long since abandoned.

I'm glad that the realm 'above the convenience store' isn't a room, but rather a disorienting labyrinth of shifting environments and dimensions, incorporating paths and places we've seen before - the staircase from the South Dakota vortex, the dark forest-scapes of Twin Peaks, the rundown motel from FWWM and the hidden depths of the painting / portal that Mrs Tremond thought would look nice on Laura Palmer's wall.

Hard or tell if that was really Jeffries in that motel room, as the wall melted away, or whether this was a representation of Jeffries beamed in from somewhere else. Loved the eeriness of this whole scene, especially the 'bosomy lady', and the glimpse of the Jumping Man. The cut back to the motel at the end, with the spectral figure in the background, was fantastically creepy.

Love the sound design of the Steven and Gersten scene - the dialogue buried so deep in the mix it reminded me of the Pink Room sequence from FWWM. Lynch doesn't need a rockabilly band to create a howling cacophony here though. Swirling, droning ambient noises coalesce to create an oppressive assault on the senses. Steven's fractured, paranoid, drug-addled psyche mirrored in, and amplified by, nature - in the howling of the elements; the lazy groan of cracking timber, sounding like tectonic plates shifting; air currents colliding - and in the supernatural - vortices opening, the background hum of evil coursing through distant power lines, the forest reverberating with the whispering chatter of dryads and demons. Lynch is cranking things up.

The dancing Roadhouse MC was terrific - the personification of the sharp-dressed man. James' pathetic fawning over Renee in front of her husband was anything but 'cool' - another Twin Peaks resident stuck in an endlessly skipping groove, guilelessly pursuing married women long after his prime, reliant on a kid half his age to bail him out of trouble. Not sure about Green Glove Freddie yet - his improbable super hero origin story has surely marked him out for a nobler role than riding shotgun for an ageing lothario.

Randall Headley is great. Don't get the hate for the Las Vegas dimension. Everyone in the Vegas storyline is knocking it out of the park, Kyle included. So many great characters in this strand: Battlin' Bud, Janey-E, The Fusco Brothers, The Mitchum Brothers, Candie and the girls, Jade, the jackpots lady, the limo driver, Anthony Sinclair, even the goon played by Jeremy Davies back in Ep 6 was hilarious. If Lynch had made a stand-alone (non TP-connected) show about the Vegas-bound adventures of this cast of characters, I'd have been in clover. In a season that's often been described as 'cold', I guess it's just the mountainous pile of quarter-of-a-century-old TP baggage that's obscuring just how much fun of all this is. Still hoping Bradley, Rodney, and especially, Candie make it back to TP with Coop.

Haven't warmed to Chantal and Hutch though. Lowlifes with a predilection for polyamory, fast food and torture - far too Tarantino-esque a conceit for my taste. Hopefully, the Mitchums have a hole in the Nevada desert ready and waiting for them. Greatly preferred the stranger (more 'Lynchian') Darya / Ray double act. Pity they checked out so early. Otis and Buella were intriguing too.

The Sheriff's Department's jailhouse is getting crowded. The cast are assembling for the finale. It's hard to fight the feeling that a change or transformation awaits. Naido and the drooling drunk are surely key. I've given up trying to predict what Lynch will do next, but did Andy's vision in the White Lodge foreshadow a Lost Highway-style jail cell transformation?

The log lady scene was almost unbearably poignant. The dimming of the light in her cabin was beautiful, and the way Hawk stepped out of the shadows to deliver the sad news to Truman, Bobby, Andy and Lucy, then melted back into the darkness was mesmerising. There are so many moments to treasure in The Return - images, sounds, textures, moods...

I've adored the Audrey and Charlie scenes from the start. Wonderfully odd, and wilfully perverse, even by Lynch's standards. As has already been observed, echoes of Beckett and Ionesco. Clark Middleton is doing such good work here. Don't think for a moment that Lynch is trolling anyone. I doubt he cares enough about our expectations to sabotage them. It's not about us. Lynch is just doing what Lynch does. Thank God.

The final Roadhouse scene was excellent. The Veils easily the best band on the show since NIN, a welcome upgrade on Lissie's banal pop rock last week. The juddering, sin-drenched, electro-blues-gospel soundtrack (with Finn Andrews channeling Brad Dourif as Hazel Motes in Wiseblood), meshed with the troubled Ruby's screams to visceral effect. If NIN's performance in Ep8 felt like an invocation, 'Axolotl' is nothing less than full-on possession: magnificently primal, a train wreck of strobing images, jarring sounds and violent screams, a full scale assault on the senses. The Return is starting to crackle with the demonic intensity of FWWM.
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Wonderful & Strange
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Wonderful & Strange » Sun Aug 27, 2017 1:44 pm

I think the Jumping Man has something to do with the Convenience Store's ability to leap into different dimensions of time and space. Notice when the Woodsman turns the lever, that's when we get our glimpse of the Jumping Man.

If I'm right about this, then we'd also have some answer to why we see Sarah/other characters superimposed on his face -- he feeds off their pain and suffering and uses that garmonbozia to effect his time "jumps."
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Terence
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Terence » Sun Aug 27, 2017 2:22 pm

Im not sure if anyone has posted about this yet?

But the same switch lever box is shown from Fire Walk with Me Convenience Store & also on the returns Convenience Store.. that the woodsmen are useing

David must have be going through Fire Walk with Me & really going over all the small details with basically everything & anything from that film is reused & shown like also with the wallpaper shown at the store again as well

It does shown the mans attention to detail. Which makes it very cool indeed to see such things.
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Panapaok
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Re: Part 15 - There's some fear in letting go (SPOILERS)

Postby Panapaok » Sun Aug 27, 2017 3:17 pm

This is - excuse me - a damn fine cup of coffee.

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