whoisalhedges wrote:Novalis wrote:I'm the kind of person who considers Glitch Art beautiful, so for me these faults, bugs and defects, whether motivated or unmotivated, are absolutely significant. I recognise of course they may be entirely inconsequential to the plot, but the plot is hardly ever what has held my attention with Twin Peaks, or indeed most of Lynch's work. I'm certainly not hooked into the idea that everything has to mean something. I love Asemic Writing for example; here it's the opacity of the form, the fact that it doesn't transparently communicate anything but brings the materiality of the signifier as such to the foreground. A lot of Lynch's devices do the same, especially his experiments in sound design.
When it comes to the "glitches" in TPTR (and TSHOTP, but that does have to be considered slightly differently at least, as Lynch was uninvolved) I think there are three kinds, and they are ALL present:
1) evidence of "something" going on in-universe, particularly in Twin Peaks itself
2) an artistic choice made by Lynch (and/or Frost)
I think there have been some mistakes. Miriam's last name on the letter? The crew said that was a prop error. Serendipitously, it worked - but we were told it was a mistake. I'm sure there have been others.
When it comes to #1, actual temporal anomalies, my thoughts are very close to this article: https://25yearslatersite.com/2017/07/19 ... rt-jacoby/ I don't think what we're looking at is some kind of Star Trek/P.K. Dick alternate timelines, I just think it's these little "timequakes" for lack of a better word.
And with artistic decisions, often made in editing: I don't think Diane wearing green while putting coordinates into the phone, "Dougie" having a catch with Sonny Jim (who is wearing the same outfit he wore in Part 5), Bobby finding something from the Major "today," or perhaps most controversially Hawk's going to Glastonbury Grove in Part 2, are instances of time jumping forward and back. I think those scenes were placed where they are during Lynch's editing his "18 hour movie" into 18 parts, into television "episodes." I think he made these choices for thematic, emotional, dramatic reasons. Sometimes (especially with Lynch) the medium is the message; he often structures his films for a very specific reason - and that reason is intuitive, not plot-dependent.
I'm not the most eagle-eyed viewer. I didn't catch ANY of the wardrobe "malfunctions." I didn't catch Ed's reflection until it was shown to me. But I've still seen a LOT of things being shown "out of order."
TIME as it's traditionally understood isn't the only thing we're dealing with here, either. I'm still in the camp (I might be the only person who thinks this, in fact ) that in the past 2 parts we've seen "Schrödinger's Audrey" - nobody in Twin Peaks has seen her. The only character we see interacting with Audrey is Charlie. So, as far as I'm concerned, she is unobserved; and as such, she both woke up from her coma and did not. I'm FAR from the only person to look at Lynch with a wink toward quantum mechanics; Martha Nochimson wrote a whole book about it. But I am the only person I know to consider Audrey Horne in TPTR to be in an unobserved, and thus simultaneously dead and alive state. How that's gonna break down, I haven't the faintest. But until she talks to someone whom we have EVER seen outside that room, her reality in unobserved.
Eddies in the spacetime continuum. ("Er, who, is Eddy, then, exactly, then?")
I'm with you on the scenes being thematic. Over in the Timeline thread we've been trying to put them together chronologically, and I'm pretty sure the catch scene happened the afternoon after they saw the Doctor. But it didn't suit the Dougie-Janey-E plot in Ep 10, it didn't mesh with the Mitchems plot in Ep 11, but it did work really well with the Fatherhood themes in Ep 12. I think the same thing happened with the Becky-Shelly phone scene (Just checked, Shelly does NOT have the much more prominent leg scrape so the arm bruises are just shadows.) Happened before Ep 11, but suited Ep 13 better. It's part of an entire "Go back a couple days and look at that" feeling in all the Twin Peaks that ep, like this is the time to see what Ed and Norma are doing, whether it affects the plot or just supports the theme.
And I think I may also be in the Schroedinger's Audrey camp. I'm open to all 3 major theories about her, and speculating happily with people in each line. We haven't had confirmation about anything other than she is in a really weird place. I do think, given the prominence of the Hornes, we'll get some resolution with this even if it's just Audrey getting to the Roadhouse.