She was born subtle, that oneJerry Horne wrote:In the first draft script, Audrey tells Blackie the name she wants to use is Laura.
Wow, a script! What does it say about the Josie-Hank scene?
Moderators: Brad D, Annie, Jonah, BookhouseBoyBob, Ross, Jerry Horne
She was born subtle, that oneJerry Horne wrote:In the first draft script, Audrey tells Blackie the name she wants to use is Laura.
I simply meant that the supernatural aspects that were present in so much of Season 2 and FWWM were largely absent from those episodes, which was somewhat misleading as the supernatural elements and mythology are such a large part of the overall show. At the end of Season 1 the thought that Laura had been killed by a malevolent supernatural force inhabiting the body of a Twin Peaks resident wasn't even a possibility. Episodes 3-7 were some of my favorite of the series, but I think the reason the show was so popular was for the rather straight-forward format of those episodes, and that people were put off by the supernatural piece that came to the forefront in the Season 2 premiere.Snailhead wrote:I agree with the overall sentiment of the above post, however I am perplexed when you say that episodes 3-7 weren't "the real Twin Peaks". Twin Peaks is many things, and those episodes are foundational to its appeal.
Well said - though I actually enjoyed this one a bit more on the latest viewing. I still pretty much feel the same way about its disappointing lack of that Twin Peaks feel in favor of a more conventional crime drama/soap... but I can appreciate what it's doing more, because it is a very tightly constructed piece of work. And I guess that even when the usual locations aren't quite milked for their usual mystique, they still feel like Twin Peaks, even if it's Diet Peaks.Cipher wrote:I just completed this episode on a rewatch, which began the other day with Fire Walk With Me, the first time I've inverted the series and films' release order, and I have to agree with David Locke's comments on page one that this episode feels extraordinarily prosaic even compared to the similarly procedural episode 6. I feel a long way now from the surreal, emotional struggle that was Fire Walk With Me, and in all this stood out as the nadir of my interest in season 1, where I found episodes 4-7 to be a bit of a collective slump (with 6 being the relative standout). One Eyed Jack's has been, draped in its unsettling red curtains and filled with stilted, doll-like actors, an uncanny den of epicurean pleasure in earlier episodes, but here it's reduced to a comfortable stage for police drama -- it is simply a casino, simply a brothel. All hints of other-worldliness have disappeared. The episode is also free of the more off-beat, unpredictable dialogue that makes the series' start such a joy, though I did get a laugh out of Andy and Lucy's short-lived reconciliation. I suppose as a way of summing up my feelings, in previous episodes the elements of soap-opera pastiche seem to exist to be subverted by other bits of unpredictable humor and horror; here they're a little too earnestly embraced, or maybe lacking couterpoint. For all that happens in this episode, this is the first time the world of Twin Peaks feels dull.
I'm actually surprised by how greatly I'm looking forward to season 2, which I'm reminded is where all of the series' mythology truly creeps in, and the greater moments of dream-like terror lie. I'm curious to see how I'll feel about its weaker moments compared to episode 7.
Oh man, I turn down the volume in almost every rewatch. Like you say, it's as if we're watching a totally different show during that scene.David Locke wrote:But anyway, the single worst and most incongruous part of the episode for me is still that really cheesy, really odd Badalamenti piece during the mill fire scene; it just sounds like some super-generic, disposable 80s thriller score. Hard-driving "ominous" synth paired with a horrid-sounding drum machine. Hard to believe it's by Angelo, and hard to believe it was thought to be of a piece with the rest of the Peaks music. (Now that I think of it, there isn't all that much use of Angelo's score in this episode, is there?)
Thanks for posting this. The house is amazing. The painting above the stairway is similar to, but not the same as the one from the show, contrary to the observations of the author. The same poker table is there by the window next to the pool table. The same ornate metal cash register sits at the bar. The same drugstore style "wooden Indian" statue is at the top of the little staircase to the right of the very strange fish tank type thing. It's so fun to look for all of the various little elements. I hope all of those things are still there.Mr. Reindeer wrote:For those who don’t know, that was someone’s home, and much of the furnishings (antler chandelier, wall tank) were actually part of the location, and remained there as recently as 2015! See https://www.twinpeaksblog.com/2018/07/0 ... yed-jacks/ for some wonderful photos. I’d love to own that place.
I remember thinking the same thing. So much of the Mill subplot is a gordian knot without a sword that ever falls. Perhaps the agent approaching her was a ploy to get her in the right place at the right time, which it did, was the only thing I could think of to make sense of it. But that doesn't have the benefit of any on-screen affirmation.Mr. Reindeer wrote:I’m still trying to wrap my head around all the Mill shenanigans. So Catherine believes she and Ben are scheming against Josie to burn the Mill and frame Josie for arson (presumably so she could collect the insurance money). But in reality, Ben and Josie are planning to frame Catherine, presumably portraying it as a revenge plot against Josie (with the fakes ledgers to demonstrate that Catherine had it out for Josie)...Josie gets the insurance money, Ben gets the land, Catherine dies. But then they take out the sketchy life insurance policy on Catherine, which seems like such a bad plan. Couldn’t Ben and Josie be happy enough with their respective profits? Taking out the policy the day before the fire just shines an enormous spotlight on them both as suspects. Also, assuming the plan is that Catherine appears to die accidentally while committing a criminal enterprise (arson), I’m pretty sure they wouldn’t even be able to collect on the policy! I get why the life insurance policy is necessary as a storytelling device, but it makes no logical sense.