I don't think Lynch was intentionally trying to "mess with" Showtime or the audience. He and Frost made the show they wanted to make. I thought it was riveting from the first scene to the last. It really made my summer of 2017.
The show must have been a massive undertaking, and it shows in the end product. Lynch said that it took 4 years to write this season, and if there were to be another one, it would be awhile. (I wonder though if they could not just rush a season more in line with what is typical for television, which is probably what happened with Season 2). I, for one, appreciate the effort. It's obvious from the more imaginative aspects that working with Lynch on this project would have been "diffferent".
We ditched Showtime now that Twin Peaks is over, but decided to re-watch the atomic hobo episode, which I believe is episode 8. That episode works as a standalone film. It is reminiscent of Lynch's early films. The art deco black and white sequences in the black lodge - or is it the black lodge - are beautifully photographed. So I'm guessing the implication is that the atomic blasts opened up some sort of portal between the black lodge reality and this world? And that the young girl on the date was Sara Palmer?
In 17 when this sequence was going on with Coop superimposed over the scene, what did you take that to mean? I forget what the next scene was.
The ridiculousness of the kid with the green glove punching out BOB and the sequence of events soon after. The juxaposition of Coop's face over the scene and his monologue had me believe it was the dreamer had awaken. He did come out of a coma right before that. It was eerie how all the cast stood there like that. They cut to the hotel and he steps through the door saying hope to see you at the final curtain call right after. The ending reminded me of Shakespeare's Tempest. When Prospero says, "We are such stuff As dreams are made on.."
That Coop's a jerk for not saying a thing to Albert, Bobby, Gordon or Andy after not seeing them for 25 years.
He acknowledges Gordon. But yeah, no love for poor Albert. I hope he at least continues to date the lady from the morgue.
We are like the spider. We weave our life and then move along in it. We are like the dreamer who dreams and then lives in the dream. This is true for the entire universe. UPANISHADS
The problem with this thinking is that we don't live in a dream world all the time. Autistic people do, but not most people. At least not most of the time. If that was the intent of the Return, fine. There were parts of the series that were extremely good. But the plot was too confusing, apparently unless you know Lynch's previous work.
I just feel like he didn't give me enough to work with. There's too many open threads and infinite options for each. I need some sort of Rosetta stone. I don't need a concrete explanation of all things, but there's not enough here to connect all the pieces in a satisfying way. It's not clear what happens to Coop after the lights dim in the sheriff's station. The superimposed head seems to say, "hey, look, this is all taking place inside Cooper's head, he is the dream", and that's fine, but how exactly does Laura tie into this then? Or Audrey? Or Diane? Why does she just walk away and Coop isn't concerned? Why is she suddenly such a key component of this story? Was this supposed to be Sheryl Lee in a red wig at one point way back when? It's just too vague, and I'm sorta not interested in thinking about it at this point because there is nothing there that can help my mind straighten it out.
David Lynch Explains Phillip Jeffries Is Not A Tea Kettle And Why We Didn't Hear David Bowie's Voice So Bowie declined to appear and didn't allow Lynch to use his voice.
This is a great interview . I was coming here to post this. Lynch gives a lot more straight answers than usal.
I think that part of the problem is that people are getting a little hung up on the word "dream," where what DL means is something like "consciousness." If you look again at that quote from the Upanishads I think you'll be able to see that. DL's work has been developing over the years to show more and more the reality and the complexity of consciousness in a way that increasingly does not have a duality of subjective (dream) with objective (reality). To paraphrase Rush, there are worlds within worlds in a spiral array... The reality (hah!) is that this was a show for Lynch fans, not necessarily Twin Peaks fans. It was absolutely uncompromising in that regard. If you dig Lynch's trajectory from Lost Highway on, you were prepared to experience this. If not, TP:TR may not have been for you, and I say that in the same non-patronizing way that I would look at my friend who is an expert in classic country music and say "I don't think he would be into Der Ring des Nibelungen." One last thought: It's interesting to me that so many people are almost offended that DL didn't give "the audience" what they wanted, as if that's what artists should be concerned with doing.
No, but when you call something "Twin Peaks The Return" you raise certain expectations. Had this been called anything else - with perhaps an indication it was vaguely relayed to the former series - those expectations wouldn't have been raised.
I get you guys, I really do, but DL is an artist, not the producer of commercial product. I guess I just didn't realize how many people are out there who loved TP but didn't follow up with DL's stuff after 1991. I can't imagine going into TP:TR and thinking it would be the same experience as the original season. If I had, I imagine that I would be disappointed too. Btw, I think that this is exactly what happened with FWWM.
I don't think the show was specifically meant for Lynch fans, I think it's meant for both sets of fans, it's just the Lynch side got increased since less restraint in the modern era of television. There are still moments that feel like they could have been in the original series, like the scene with Bobby's mom.
I don't think it was made for fans, period! I just think that people who are really into DL's thing were better positioned to appreciate it than people who may have liked the original run of TP but weren't into what DL has been up to since then. I totally agree with the rest of your comments.
