Jonah wrote:Some pretty wild theories springing up on Reddit (not sure if they've also appeared here?) about Diane maybe being possessed by the LMFAP. Someone posted that the way she says "let's rock" and enters through the red curtains and that we also hear a sound effect in this scene associated with the LMFAP. Not sure what to make of any of these theories (or the Audrey one). But I'm enjoying them. Reminds me of when the LOST theories were in full force.
This was my thought as well...I believe someone once posted that Lynch told actors during the filming even though their character name might be so and so they may be playing someone else, or something along these lines...
Diane appears from red curtains...
she uses the line Let's Rock
in part 9 she sits and waits in what Gordon Cole calls the waiting room
she receives a text that around the dinner table yadda yadda yadda...in FWWM the LMFAP is with BOB at a table above the convenience store
another thing about people who think there are 2 realities or sthg along those lines...
When Cole and Albert first meet Mr.C, Cole says he's afraid to say he doesn't know what is happening...
yet later on he explains the yrev to TP...and in part 11 he and Albert both look like they are going through something they are very well informed of...
Cole likes young beautiful women, yet he tells Denise that he is old school...?
I have seen this part only once, plan to see it again tomorrow, so I might pick up more, but here are some ideas I currently have:
We do not have enought information to accurately judge the Audrey scene. I understand it is not what most people had expected to see of Audrey, I had no expectations to be honest; I think we will learn something soon that will turn this scene onto its head, so to speak; It would not be the first time (e.g. Frank's wife); I found the scene very intriguing;
Audrey's husband may well be the person from Mr C's NYC photo; Probably not the case though;
At this point, I only trust Albert. Tammy could be a plant, Diane is who knows what, and Cole is too busy being the ladies man, he has not (or has he ) set his priorities straight, his judgement may be blurred;
Sarah looks possessed when Hawk pays her the visit; Those comparisons of her facial expression vs Bob's that some folks put out were spot on IMO; I hope the cashier teen is doing ok and did not deliver to her home;
With the deaths of the warden and Hastings the Buckhorn arc of the story seems wrapped up, Vegas could be wrapped in a part or two, leaving us with 4-part TP showdown;
At this point, if Coop wakes up (that looks like a bigger if each passing day), four parts of TP featuring him would be enough, three is a bare minimum, two or less I would find inadequate;
Troubbble wrote:
It's way too easy to look at the original run with rose-colored glasses, when in actuality, the few episodes directed by David were FAR AND AWAY the highlights... I'm glad they're trying to create something of substance here, when it would've been much easier to rehash that old Twin Peaks "vibe."
Not at all. Practically EVERY episode in the original series up till no. 16 (or 17, if you count Pilot as E 1) is quite on par with eps Lynch has done quality-wise - granted, his are definitely very strong and some are among my favorites (numbers 9, 14 and 29 in particular), but that doesn't mean everything else from the, roughly, series' first half is FAR below them, not by a long shot.
Interesting to know there are Peaks fans who think the original series is substance-less one. And rose-colored glasses or not, it still changed TV forever, I'd dare say for the better. Whether this new thing even approaches similar an achievement remains to be seen; I'm willing to bet, though, that it won't even come close.
nonemoreblack wrote:I don't really like the idea of Audrey's story being like Shelly's. I don't think it goes with the character we saw at the end of S2. I think there's more interesting directions to show how Audrey's life has gone downhill.
Someone on reddit made the interesting point that the scene felt stuck in time. They weren't using cellphones, and Charlie wasn't using a computer.
It doesn't make any sense that Audrey of old would marry somebody like the guy behind that desk unless the trauma of the bank vault explosion changed her personality. Her being in a coma actually seems more likely. She remains fixed in place during the entire, grueling, 10 minute scene, suggesting that she is immobilized in the real world.
Dr. Amp spits "The ninth level of hell will welcome you!" immediately before we cut to Audrey in the office. Probably a coincidence.
I’m not married to the coma idea, but I do think it the most likely until further info is given. Even though I think it would be on the clumsy side for Lynch, the phone calls may be what Audrey can hear from her loved ones telling her the daily news while she lays in her coma. Just bits and pieces and surmises.
Last edited by Deep Thought on Tue Aug 01, 2017 1:45 pm, edited 1 time in total.
nonemoreblack wrote:I don't really like the idea of Audrey's story being like Shelly's. I don't think it goes with the character we saw at the end of S2. I think there's more interesting directions to show how Audrey's life has gone downhill.
Someone on reddit made the interesting point that the scene felt stuck in time. They weren't using cellphones, and Charlie wasn't using a computer.
In regards to the episode as a whole, it was the first one this season I didn't enjoy. I get that Lynch is all about patience, but that shouldn't mean he should be completely left off the hook when he overdoes it.
Yeah, agreed. Audrey and Shelly are such distinct, unique characters. I'd hate for them to have such similar stories.
And there was a quality to the scene like it was frozen in time. I imagine Audrey caught in some sort of hell where she can't ever get out of a tedious conversation with her boring husband. On top of that, their house looked... worn. I was really curious about that layer of fabric that covered the doorway/staircase.
On second viewing I found this ep. to be the funniest of the season, but it was very perplexing on first viewing.
Troubbble wrote:
It's way too easy to look at the original run with rose-colored glasses, when in actuality, the few episodes directed by David were FAR AND AWAY the highlights... I'm glad they're trying to create something of substance here, when it would've been much easier to rehash that old Twin Peaks "vibe."
Not at all. Practically EVERY episode in the original series up till no. 16 (or 17, if you count Pilot as E 1) is quite on par with eps Lynch has done quality-wise - granted, his are definitely very strong and some are among my favorites (numbers 9, 14 and 29 in particular), but that doesn't mean everything else from the, roughly, series' first half is FAR below them, not by a long shot.
Interesting to know there are Peaks fans who think the original series is substance-less one. And rose-colored glasses or not, it still changed TV forever, I'd dare say for the better. Whether this new thing even approaches similar an achievement remains to be seen; I'm willing to bet, though, that it won't even come close.
I think that from episode 2 of season 1, almost to the point of Leland's exposure as Bob in season 2, was TP at its finest. Add to that the final episode of season 2 as well.
The new series brought many great moments and they will make their mark in the history of television, but only a couple of parts, in my opinion, had that effortless flow comparable to the original series' high points.
Jonah wrote:Some pretty wild theories springing up on Reddit (not sure if they've also appeared here?) about Diane maybe being possessed by the LMFAP. Someone posted that the way she says "let's rock" and enters through the red curtains and that we also hear a sound effect in this scene associated with the LMFAP. Not sure what to make of any of these theories (or the Audrey one). But I'm enjoying them. Reminds me of when the LOST theories were in full force.
This was my thought as well...I believe someone once posted that Lynch told actors during the filming even though their character name might be so and so they may be playing someone else, or something along these lines...
Diane appears from red curtains...
she uses the line Let's Rock
in part 9 she sits and waits in what Gordon Cole calls the waiting room
she receives a text that around the dinner table yadda yadda yadda...in FWWM the LMFAP is with BOB at a table above the convenience store
can't all be coincidence can it?
Has anyone compared her facial expressions to Gerard's when MIKE was in control, or the LMFAP himself? Because I'm thinking MIKE as well. And it would explain why she's tracking Doppelcoop, aware of what's in Vegas, has no problem watching the Woodsman off Hastings (even seems a little delighted), but still seethes with utter loathing when she confronts BOB-inhabited Doppelcoop. MIKE working against BOB again, using the FBI to help track him.
Man, imagine if Diane is inhabited by MIKE and Sarah is inhabited by BOB. Getting to town will be VERY interesting in that case.
nonemoreblack wrote:I don't really like the idea of Audrey's story being like Shelly's. I don't think it goes with the character we saw at the end of S2. I think there's more interesting directions to show how Audrey's life has gone downhill.
Someone on reddit made the interesting point that the scene felt stuck in time. They weren't using cellphones, and Charlie wasn't using a computer.
It doesn't make any sense that Audrey of old would marry somebody like the guy behind that desk unless the trauma of the bank vault explosion changed her personality. Her being in a coma actually seems more likely. She remains fixed in place during the entire, grueling, 10 minute scene, suggesting that she is immobilized in the real world.
Is it that hard to believe someone's personality could change after nearly being killed in an explosion, and waking from a coma?
Nighthawk wrote:
I think that from episode 2 of season 1, almost to the point of Leland's exposure as Bob in season 2, was TP at its finest. Add to that the final episode of season 2 as well.
The new series brought many great moments and they will make their mark in the history of television, but only a couple of parts, in my opinion, had that effortless flow comparable to the original series' high points.
So you think that the drop in quality occured prior to Leland's exposure as Bob? And by that do you mean his exposure to us, the viewers (in E 14), or to the police and the town of TP (in E 16)? I myself see those three episodes which chronicled Maddy's murder and Leland's downfall as the absolute peak of the whole of TP universe (yes, that includes the much-maligned E 16, guilty of wanting to be Lynchian without Lynch according to its critics).
I pretty much agree with you regarding your assessment of S 3 so far.
Given the amount of frustration that this part in particular seems to have generated, I'm just wondering if Chantel and Hutch's dialogue during the Warden Murphy hit scene isn't Lynch and Frost having a little fun at what they anticipated the audience reaction might be and commenting on how they might be being perceived by viewers at this point, i.e. nonchalantly debating with each other whether to indulge in a bit of [audience] torture or not .
Ragnell wrote:Has anyone compared her facial expressions to Gerard's when MIKE was in control, or the LMFAP himself? Because I'm thinking MIKE as well. And it would explain why she's tracking Doppelcoop, aware of what's in Vegas, has no problem watching the Woodsman off Hastings (even seems a little delighted), but still seethes with utter loathing when she confronts BOB-inhabited Doppelcoop. MIKE working against BOB again, using the FBI to help track him.
Good catch. Because MIKE is essentially anti-BOB for selfish reasons, not pro-good guys in any direct way, IIRC?
Ragnell wrote:
Man, imagine if Diane is inhabited by MIKE and Sarah is inhabited by BOB. Getting to town will be VERY interesting in that case.
I don't think Bob would inhabit Sarah. She's elderly and downtrodden whereas Bob seemed to be in pursuit of excitement and youthful vigor. I am dreading and craving to see what is in her kitchen though. It's elusive why this scene was so creepy, but it was genius. The scariest stuff is often the unseen.
) set his priorities straight, his judgement may be blurred;
