Cappy wrote:So... that being that spat out BOB in the aftermath of the nuclear test. Is that thing the "mother" that American Girl warned of in the Purple Room? As in "you'd better hurry / my mother's coming".
It seems like that vague space where the spirits are formed (or spit up) has similarities to the Purple Room, in that both serve as a launched pad for souls/spirits into the corporeal/earth plane. Also, both have shades of Eraserhead. The monster that spits BOB has a passing resemblance to the baby from Eraserhead, and the Purple Room has cosmic levers that effect change in the lives of mortals (like in the beginning of Eraserhead).
Still in awe of this episode.
Yes. Things come in and go out of mouths. Very Eraserhead.
The egg hatching some mutant creature, partially reptilian. Again, Eraserhead. I mean, WTF was that thing? A cross between a frog and a roach? Yes, th large American roaches have enough wing to fly.
Last edited by wxray on Sun Jun 25, 2017 8:17 pm, edited 1 time in total.
I have not been moved by a piece of art like this episode in a long time...if ever. Completely awed by this hour. The images, the SOUNDscape, the horror, the beauty, the mystery, the history, the shadows, the light, the fire.
Did anyone else get Night of the Living Dead vibes from the black and white scenes from the New Mexico town? That is one of my all time favorite movies with that haunting and powerful political/social commentary on humanity at the end.
Thinking about it, David Lynch & Dean Hurley'a credited track "Old 30's Room" is most likely the music we heard in that strange first room with the woman and The Giant/???? (I think it's the White Lodge). Original Badalamenti composition when Laura is created.
Feels like nukes awoke an evil of some kind. Or Bad Coop with Bobs spirit nearly dying (and being revived) was earth tilting.
Was the young woman supposed to be Sarah Palmer being given the seed for Laura? Not sure how much I like retroactive significance but I'll roll with it. The ages would work out as the actress I think was born in 41, and the scene is 56?
Some of the most striking imagery, I can see where their budget went. The "Gotta light" hobo spirit (if that's one and the same) is perfectly horrifying, exactly the kind of thing I was hoping for in this. The editing on the voice just gets under my skin.
Naturally this episode will be a hard rewatch for me though as I'm not avante-gard minded, more of a narrative guy. But holy.
I don't like the idea of Laura being given some sort of world historical significance either, I prefer the thought of her as just a girl.
But regardless, probably my favourite episode so far.
Hester Prynne wrote:Did anyone else get Night of the Living Dead vibes from the black and white scenes from the New Mexico town? That is one of my all time favorite movies with that haunting and powerful political/social commentary on humanity at the end.
I was more thinking of films like the Amazing Colossal Man, which actually had a nuclear explosion.
Also, the Giant Gila Monster feeling came in there.
So, remember when we all laughed at the idea of Bob coming from a planet made of corn and Truman driving the van backwards in a corn field to get to the portal?
Now imagine if this was what Engels told about the plans for season 3.
I enjoyed this episode a lot though.
But I can't help but think that maybe it would've been better if this episode would've been a surreal movie of its own and Twin Peaks season 3 would've had one more regular episode for us to watch.
Guess that heads-up lucky penny wasn't so "lucky," eh?
When I saw "White Sands NM" I was hoping for some of that back story from TSHOTP to come to life on screen. But that had more to do with owls and alien ships, neither of which has been in evidence in S3.
I liked the Kubrick-reminiscent effects. Gratified to have more reference to Jeffries. Music accompaniment made an impression on me throughout, but most compelling for me was the score playing during the scene with the Giant in the ballroom/ stage area and his lady companion.
Mostly the horror aspects of this episode -- the ritualistic dance-act by the silent darkened figures around EvilCoop's body; the mutilation and murder of the people in the radio station -- felt like being in DKL's head as he wrestles with nightmare fodder. I felt like I was inhabiting any number of Lynch's bad dreams.
The young girl in all her innocence, closing her eyes to receive a very mild kiss: what happens later seems to indicate the purest manifestations of innocence are the greatest magnets for the evil creepies to "lodge."
Had always had doubts that the Cooper who got the clues from ?????? in Episode 1 was OUR Cooper. Since it seemed like a guaranteed flash forward, and Coop's affect was a little funny, I didn't feel like I could be sure...
Now, it seems more certain that those were clues, from a friend, to the good Cooper.