Part 11 - There's fire where you are going (SPOILERS)

[Fire]

I would love to have a GIF of Candie and the girls just moving, from the shot of them in this episode. Something about it, I can just watch it forever. So hypnotic in a Lynch way.

Thank you very much!

[MysteryMan14]

I've got a stupid question but who's singing this cover of Viva Las Vegas?

It's Shawn Colvin.

Great, thanks

[Snailhead]

There are things about the new series that I'm not fully into, however the palm tree doesn't bother me in the slightest. Seems like an odd thing to be bothered by.

[LateReg]

I really loved the episode, and I found the ending to be surprisingnly emotional

I don't post much, but I spend some time on this forum every day during the week reading your theories and observations to wait for each new episode, but... am I the only one who thought the cover of Elvis' Viva Las Vegas was terrible and didn't fit at all in the show ? I Don't think I've seen any post about it, but I think that was the only flaw of that episode

I'm of the mind that you can't really put that song in anything and not recognize the schlock of it, so I think they partially placed it there with a knowing wink.

[wxray]

At first I thought Diane was a doppleganger, but it doesn't make sense with the way she acted in the jail cell and was like "Who are you?"

My second guess is that Mr. C has power over her and can possess her or control her to do things at his will. He took advantage of her that night and now she can't escape... I am hoping that by the end of this story they save Diane and defeat Mr. C... at whatever it takes!

I love this story so much - this is my favorite movie/TV ever right after Buffy... and that says a lot!

This is good. In part 2, Roger talks with Mr. Todd.

Roger: "Why do you let him make you ... do these things."
Mr. Todd: "... Roger..., you better hope that you never get involved with someone like him. Never have someone like him in your life."

The pauses are dramatic after the 'make you' and before Mr. Todd answers. At the time, I'm thinking, "Oh cool, Winkies guy!" But now, this scene seems to mean a lot more. MAKE YOU.

In other words, I like this theory about Diane.

[firefly2193]

I think you're criticism comes from literally the opposite place to mine. I want the return to be MORE Lynchian in the sense that I know it - his work since FWWM onwards have been deep character studies exploring subjects who have suffered deep trauma and their subjective experience of reality thereafter...

I agree wholeheartedly with all of this. I also agree with the poster below who noted that DougieCoop is the emotional core of the show; but as charming and beautiful as I have found much of that storyline, it doesn't compare to the powerful mixture of suffering, pain, love and (sometimes) redemption we've gotten from all of DKL's major works from FWWM on. Outside of the Dougie scenes, TPTR seems almost aggressively focused on narrative/mythology (and shaggy-dog asides), at least when compared to most of DKL's other "recent" works (ironic since many viewers feel there's been little plot movement). In the original show, the mythology worked at its best when it was in service of showing Laura's pain and the terror and sadness caused by her death. I hope when all is said and done, all of the new developments end up saying something similarly complex and personal about Dale, and about all of us.

I agree. But I must say that as far as emotions are concerned, the final scene of Part 11 had me reeling. It was powerful and unexpected and operated at a level that most things don't, in that it had me all at once on the edge of my seat with a huge smile on my face and tears in my eyes...longing for the return. A friend of mine said you have to actively want it (the return) to be fully engaged with this, at the same time you're willing to be taken wherever Lynch/Frost take you. That scene so far is the culmination of that.

I agree with both of you. There are parts of the Dougie storyline that have been touching: his tear at Sonny Jim, his obsession with the policeman statue, his look at the American flag. I hope that the way they complete Dale's arc gives these moments even greater depth (for example, I currently have zero idea where they are going, if anywhere at all, with the Janey-E or Sonny Jim characters).

I essentially hope the show is truly ABOUT something meaningful, and not just as you say, mythology and narrative.

[GrapesOnTheEdge]

... am I the only one who thought the cover of Elvis' Viva Las Vegas was terrible and didn't fit at all in the show ? I Don't think I've seen any post about it, but I think that was the only flaw of that episode

No, you are not. It was awful.

[Framed_Angel]

... am I the only one who thought the cover of Elvis' Viva Las Vegas was terrible and didn't fit at all in the show ? I Don't think I've seen any post about it, but I think that was the only flaw of that episode

I'm of the mind that you can't really put that song in anything and not recognize the schlock of it, so I think they partially placed it there with a knowing wink.

I'm familiar with the song from being played during closing credits of "The Big Lebwoski," which film came out around the time that I was a Colvin fan and adored it for that use. Here, in Part 11 it did feel like an odd choice; plus, the way it got cut off sharply seemed sudden and jarring. One of those head-scratching "WTF with the editing?" moments for me~

[Troubbble]

@sylvia north

Twin Peaks 2017 group on Facebook found this - did a search here, didn't know if it'd been caught here or no. Three minutes apart, Diane's POV is flipped

there are a ton of examples of shots being re-used twice, lines of dialogue or camera set ups hand gestures or partial scenes repeated etc.
this because Twin Peaks is not '' reality'' it is a '' representation''.
it does not have to obey documentary law.

And editors are just way too fast in flipping scenes for whatever feel or framing they want. For example, the flipped airplane view a few parts back with the reverse writing. I guess it is so easy to do in digital editing.

My first thought was to speculate about mundane reasons this could have made it in... But we've already been faked out once before about a "flip" that actually WAS story-related (see: Cooper's fingerprints).

Also: isn't the lighting on that metal container completely different in both shots, despite everything else being framed and staged exactly the same? Unless somebody can explain further, this seems totally intentional to me. And what a great find!!

[Deep Thought]

There are things about the new series that I'm not fully into, however the palm tree doesn't bother me in the slightest. Seems like an odd thing to be bothered by.

I guess I'll add the sarcasm tag next time I am being sarcastic.

My theory on the tree being sucked through the vortex from Los Angeles to Buckhorn is still a work in progress though. /sarcasm

Hmmmm, it kind of kills the buzz . . .

[Jerry Horne]

Is Cole seeing more things than other people due to the electricity in his hearing device?

With his hands reaching out by the house, Cole reminded me of the One Armed Man inside the Red Room.

[gravenimages]

Apologies if this has been mentioned before, I expect it has - seems we got our first peek at this episode way back in December 2015:

https://youtu.be/SfPv57KBpJI?t=41s

[dustoff]

Is Cole seeing more things than other people due to the electricity in his hearing device?

With his hands reaching out by the house, Cole reminded me of the One Armed Man inside the Red Room.

I thought he was just seeing more because one had to be standing in a very specific spot to do so. (Where Hastings went, "15 or 20 feet" beyond the fence, or something like that.)

[windh]

With his hands reaching out by the house, Cole reminded me of the One Armed Man inside the Red Room.

It reminded me of "Laura" being sucked out of it.

[LateReg]

... am I the only one who thought the cover of Elvis' Viva Las Vegas was terrible and didn't fit at all in the show ? I Don't think I've seen any post about it, but I think that was the only flaw of that episode

I'm of the mind that you can't really put that song in anything and not recognize the schlock of it, so I think they partially placed it there with a knowing wink.

I'm familiar with the song from being played during closing credits of "The Big Lebwoski," which film came out around the time that I was a Colvin fan and adored it for that use. Here, in Part 11 it did feel like an odd choice; plus, the way it got cut off sharply seemed sudden and jarring. One of those head-scratching "WTF with the editing?" moments for me~

Yes, agreed. And I view that as Lynch's intention. It's so head-scratching that it's both beautiful and awful and mystifying at once. I've noticed a lot of this hodge-podge effect here and there throughout the series (such as Lorraine's hip-hop song!) and I think it's all part of the insanity.