I think that Lynch often wants to communicate his ideas through the feeling that his work creates, and not the literal meaning of what’s onscreen.
You've got the cadence correct but it needs more misspellings and some abbreviations and ALL CAPS. Otherwise, well done.
I quite agree. Lynch’s work is driven by emotional continuity rather than narrative c to unity as well.
Nine Emmy nominations, but none for the cast! ‘Twin Peaks’: David Lynch Received Multiple Emmy Nominations Even If His Cast Was Robbed
It would be funny if Lynch wins for best director and for his acceptance speech he explains everything that takes place in the show.
let's be honest, guys: TP has never been known for outstanding acting. in the new series, lynch basically out acted his entire cast. and i guess i should say that all DL work is my favorite. TP is at the top of it. i'm just being objective.
This essay and interpretation has been blowing my mind this week: But Who Is the Dreamer? Twin Peaks: The Return - Politics/Letters
Yep. He nails it. I loved his insight (something that I missed) is how Cooper inserts himself into Laura's last night on earth in place of Leland. I have a couple of very minor quibbles- like I think he takes the concept of "dream" a little too literally- but this is essentially the interpretation I offered last year: Twin Peaks: The Return (2017)...*Contains Spoilers!!* Locating TP:TR in the context of Lynch's work from Lost Highway through Inland Empire is the key.
Agreed. For me its less a dream and more a battle within Coopers mind to rationalise what he did. What we see are all the different elements of his psyche. As you and the article both mention, you need to consider Twin Peaks in the same way as Lost Highway, Mullholland Drive and Inland Empire. However, I don't think Seasons 1 and 2 were written with this premise in mind? Were they?, or did Lynch ret-con this into 'The Return' as a continuim of his recent oeuvre? I think I am ready to re-watch The Return now with some of these ideas in my mind.
There were MANY moments during The Return where I wondered: “ How did Lynch convince a network to back this?” and was glad that it happened. You have to give him credit for having a persistence of vision all these years.
This is the thing: I don't think there's any way that S1 and 2 were written with this premise in mind. Yet, S3 makes so much sense out of S1 and 2. The basic sense of unreality about TP that people rationalize as "quirkiness" or "whimsy" is exposed after S3 as exactly that. Lynch is all about the happy accident, and I cannot imagine a happier accident than this. It's astonishing, really. If you go back and watch the whole run again it will blow your mind, I promise you.
