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So I found a thing posted elsewhere that posits a purpose to the Jones' family's weird names. Janey-E Sonny Jim Dougie All the letters in those names: a d eee g ii jj m nnn oo s u yy Rearranged they can become: My Annie Judy Josie - gone My first thought when seeing this was, "Wow, that's super cool! Who the hell is Judy?" I've been reminded that she isn't a character on screen in any of the Twin Peaks things, but was mentioned by Jeffries in FWWM: "Well now, I'm not gonna talk about Judy. In fact, we're not gonna talk about Judy at all. We're gonna keep her out of it." Also, at one point the image of a monkey says the name "Judy" in close proximity to imagery of Laura Palmer's dead body.
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May 27, 2017 03:43
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Barreft posted:Episode 4 was much better, less trippy poo poo and more actual things happening. I'll continue on. But, it's really kind of pointless. Nothing will make sense, nothing will mean anything. You're essentially turning on 2001: A Space Odyssey right as Frank goes into the monolith, skipping the two hours of build up and exposition. Season 1 and 2 are on Netflix. Hell, if you're super pressed for time watch S1 E1-3, S2 E9 (I think?) and the last two episodes. You can even skip the movie, though you really shouldn't. But those episodes take up only about 6.5 hours and will make everything make so much more sense.
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May 27, 2017 03:44
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TheMaestroso posted:So I found a thing posted elsewhere that posits a purpose to the Jones' family's weird names. Source your quotes
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May 27, 2017 03:47
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This loving James subplot in season 2  It's so awful
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May 27, 2017 03:55
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Jerusalem posted:This loving James subplot in season 2 Hahaha you have no idea
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May 27, 2017 03:57
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Jerusalem posted:This loving James subplot in season 2 But James was always cool 
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May 27, 2017 04:02
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Consummate Professional posted:Source your quotes Here's the Jeffries scene in question (from the Missing Pieces version): https://www.youtube.com/watch?v=rHl_8WK8w3Y
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May 27, 2017 04:04
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I always thought it was funny that Bowie got star billing in the final cut of FWWM despite him being in it for 45 seconds.
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May 27, 2017 05:28
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jfc there's a bobby and mike in twin peaks and a BOB and MIKE in the lodges I literally just noticed this edit Tirranek posted:That's how I saw FWWM for the first time and thought it was great, like a 3-episode special. It was put together really well, to the point I only knew what was from Missing Pieces because I'd read how most non-Laura stuff had been cut. It has a nice, novelistic feel. You kind of drift from sequence to sequence in an unhurried way. Magic Hate Ball fucked around with this message at 05:41 on May 27, 2017 |
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May 27, 2017 05:31
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. Not to go on too long, but I thought having more 'Peaksy' stuff in FWWM really helped it, as we got to see everyone's plots being lined up for the pilot. Lastly, I heard a lot of people say it doesn't line up with the TV series, but I thought the film hit every point brought up in the show, especially the details of things like Laura and James's last meeting.
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Truman and Cooper make note of there being two sets of Mike and Bob(bie)s at one point.
Hansen85 fucked around with this message at 00:21 on May 28, 2017 |
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May 27, 2017 05:32
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TheMaestroso posted:My Annie Judy Josie - gone It's actually My ojisan Ed - Genuine joy. David Lynch still thinks Big Ed is the coolest uncle out there.
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May 27, 2017 08:25
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Escobarbarian posted:kaworu I love your posts and enthusiasm D'awww shucks  I'm glad some of my infectious enthusiasm is rubbing off, because it feels a little euphoric to me every time I watch one of the episodes again, it's still so new and fresh and there are so many approaches to the material! It's hard for me not to feel truly enthusiastic  I chose a bad time to quite drinking coffee, that's for sure - I hadn't had a cup in a month before this week. I forgot Twin Peaks was premiering though, so I'll quite at the end of summer again  It's so perfect that this season will run almost EXACTLY from Memorial day to Labor day, encapsulating all three months of summer.  I'm looking forward to coming home to a dark and empty house some random hot sunday night at 1AM, putting on a new episode of Twins Peaks that turns out to be balls-to-the-wall creepy and eerie and nightmarish as gently caress and it leaves me shaking, literally. I really expect something like that to happen multiple times this summer and it makes me so happy.Regarding the person who mentioned Kubrick influences (my god there are so many influences and homages and such to point out) but one of the things I noticed was what a Kubrickian vibe I got from a lot of the shots involving the Glass Box and its aperture. One of the first early shots we get in the first episode is (first) that absolutely gorgeous and sumptuous photography of NYC at night - whoever said that photography of that city has never looked more... lush, fantastical, magical. I couldn't agree more. And it actually reminded me of the few times I got an overhead view of the city at night in REAL life. The light had the same quality. I didn't even know you could *reproduce* that sort of detail in video photography yet, really. Anyway, back to my point. We get like... a POV shot slowly panning out (I capped it after it stopped panning for a moment before the cut) from the student's perspective, sitting on the couch on the raised platform and staring into the glass box and through the aperture in the center:  The camera cuts to a shot 180 degrees in the other direction of the person whose POV we were seeing:  Anyway, the combination of that POV shot flipping around like that in an enclosed space while everything is silent but for an electrical hum, it SERIOUSLY reminded me of some of the Hal POV shots we saw from 2001, when the two astronauts were in the pod and we were flipping between the POV of Hal watching them through the glass and that closeup of Hal's unblinking red eye. It just felt very reminiscient. Also, the shot that we get of Ben in that screencap - shot from slightly underneath him as he looks on, unblinkingly, with what seems to me like a version of Kubrick's "thousand yard stare" - he shoots his male protagonists in a very similar in many of his films at one point or another. Alex in the Korova Milk Bar in the opening shot of 2001, or Jack Nicholson in The Shining looking out the window, or Vincent D'Onofrio in Full Metal Jacket, and so on. I dunno if it's anything other than a little homage but it's a very Kubrickian series of shots, if I may use such a word. Also - on a random note I am sure people noticed Cooper noticing the "Sycamore St" sign while getting a ride from Jade (lol). I thought this was a very positive sign vis-a-vis Cooper's mental state, because he must on some level remember all the details of him time in the Black Lodge/Red Room/etc, given that the first thing he saw upon entering the Red Room in the finale was the Late Great Jimmy Scott doing his thing with "Under the Sycamore Tree," as I'm sure we all recall. kaworu fucked around with this message at 13:29 on May 27, 2017 |
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May 27, 2017 13:27
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TheMaestroso posted:So I found a thing posted elsewhere that posits a purpose to the Jones' family's weird names. also jones is david bowie's original name, the plot thickens
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May 27, 2017 13:34
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And More posted:It's actually My ojisan Ed - Genuine joy. David Lynch still thinks Big Ed is the coolest uncle out there. New best interpretation.
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May 27, 2017 14:20
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That establishing NYC shot was really cool, but it should be noted that Lynch didn't shoot that. It's just stock footage.
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May 27, 2017 15:04
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chime_on posted:That establishing NYC shot was really cool, but it should be noted that Lynch didn't shoot that. It's just stock footage. Who shot it, out of curiosity? It does look like some other shots I've seen using like, ultra-HD cameras. Regardless of whether Lynch physically shot that exact footage, it's the whole package that counts - what precedes the NYC establishing shot, what follows it, what changes Lynch made to the color balance/density/etc to cause it to flow seamlessly into his own footage, the sound used during that shot.... There's a lot more to it than just who actually shot the physical footage of that particularly shot. I mean, it's really a pretty drat important shot, for a show that had been geographically very much chained to its titular town, and barring the use of other locations like Philadelphia or Deer Meadow (Twin Peaks' own dark doppleganger I suppose) in FWWM, it's the first time the show has really traveled beyond its own confines. It's brought home when we observe just how ridiculous and incongruous Cooper's key to his room at The Great Northern seems both to Jade and all of us watching in 2017. Just on a random note, this brings me back to a point I've been meaning to make about how different things are, well, ~25 years later. The way this revival is juxtaposing old Twin Peaks with this new material is just brilliant, because in a way it causes us to observe this world of Twin Peaks 2017 from an outsider's perspective - from Agent Cooper's perspective. We've been locked up in the Black Lodge with him in a way, and we're now emerging and catching glimpses here and there of just how different things are both in Twin Peaks and the outside world. How perceptions have keenly changed. Take Gordon Cole, characterized by Lynch mostly through his deafness and over-the-top shouting delivery. It was fun and it worked perfectly in the original series. Now, Cole's got an upgraded hearing aid and he can actually hear what people are saying (cossacks and carsickness aside). In fact, he can even turn his hearing aid way up and whisper to people, and become extremely hypersensitive to sound, to the point where the scuffle of a shoe on pavement is "like a knife in [his] brain". I think it's representative of how much more sensitive everyone has become to all sorts of things than they were 25 years ago. Back then, people still would let their kids play outside alone for hours, and kids were more independent - there weren't even cell-phones so parents could always get in touch with them or vice versa. Laura's abuse and subsequent downfall would have happened in an extremely different manner now than the way it occurred then. The shift of both technology and perception and overall public consciousness has been fairly extreme as a result of the digital age. And now I'm reminded of the odd "problem" that Lucy has with cell-phones, and how she simply just *cannot* adjust to the fact that people can be mobile and talking on the telephone at the same time, since her entire world (as we saw it last) revolved around working with the clumsy limitations of the telephone. And her perception of that apparently is unable too adjust. Makes me wonder what Cooper's adjustment will be like, ultimately. But this does seem to be something of a motif that shows up, especially in episode 4 I think. Or perhaps I'm imagining more things 
kaworu fucked around with this message at 15:54 on May 27, 2017 |
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May 27, 2017 15:34
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chime_on posted:That establishing NYC shot was really cool, but it should be noted that Lynch didn't shoot that. It's just stock footage. That's not stock footage.
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May 27, 2017 15:43
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drat good coffee! And hot! Can't wait until the next episode.
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May 27, 2017 15:51
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Isn't the eeriness of the NYC shot due to it being HDR? Also the odd "from below" angle of the shot leading to the building after the helicopter/drone angle.
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May 27, 2017 16:19
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DrVenkman posted:That's not stock footage. How can you tell? Is stock footage listed in the credits?
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May 27, 2017 16:37
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kaworu posted:Also - on a random note I am sure people noticed Cooper noticing the "Sycamore St" sign while getting a ride from Jade (lol). I thought this was a very positive sign vis-a-vis Cooper's mental state, because he must on some level remember all the details of him time in the Black Lodge/Red Room/etc, given that the first thing he saw upon entering the Red Room in the finale was the Late Great Jimmy Scott doing his thing with "Under the Sycamore Tree," as I'm sure we all recall. I didn't recall what song that was, didn't quite stick in the memory like Candy Colored Clown (In Dreams) from Blue Velvet. Thanks for pointing out these findings, cool stuff. Catsplosion posted:drat good coffee! And hot! Arguably too hot though he may have wanted to let it cool down a little!
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May 27, 2017 16:37
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The significance of Sycamore Street was the connection to Glastonbury Grove, which is the circle of sycamore trees at the entrance to the Black Lodge. This was the connection with the Sycamore Trees song being played in the Lodge too. David Lynch wrote the lyrics to that song and I think I read somewhere that they were lines from one of his earlier scripts, maybe Ronnie Rocket.
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May 27, 2017 17:39
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kaworu posted:I think it's representative of how much more sensitive everyone has become to all sorts of things than they were 25 years ago. Back then, people still would let their kids play outside alone for hours, and kids were more independent - there weren't even cell-phones so parents could always get in touch with them or vice versa. Laura's abuse and subsequent downfall would have happened in an extremely different manner now than the way it occurred then. The shift of both technology and perception and overall public consciousness has been fairly extreme as a result of the digital age. This doesn't really ring true. In the short scenes at the Sheriff's Department, we get news of a teen seemingly overdosing in the classroom. People appear utterly blind to the horrible things happening right in front of them. It doesn't really matter how well we seem to be connected. quote:And now I'm reminded of the odd "problem" that Lucy has with cell-phones, and how she simply just *cannot* adjust to the fact that people can be mobile and talking on the telephone at the same time, since her entire world (as we saw it last) revolved around working with the clumsy limitations of the telephone. And her perception of that apparently is unable too adjust. Makes me wonder what Cooper's adjustment will be like, ultimately. Now, this is a good example of how things have changed. Lucy can't adapt to the disconnect between sound and place that happens when someone walks around with their phone. They may sound like they're in one place, but they might actually be driving or walking, and you wouldn't be able to tell. Conversely, Gordon can have a whispered conversation with Albert, but god forbid Albert actually takes a step. Technology changes things, but it also deceives us in certain ways. I think Coop will be fine, though. He's always been able to marvel at and adapt to weird things. A very fancy tape recorder is probably not going to break his mind (any more than it already is). Your essay posts are fun to read, btw.
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May 27, 2017 18:34
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kaworu posted:Take Gordon Cole, characterized by Lynch mostly through his deafness and over-the-top shouting delivery. It was fun and it worked perfectly in the original series. Now, Cole's got an upgraded hearing aid and he can actually hear what people are saying (cossacks and carsickness aside). In fact, he can even turn his hearing aid way up and whisper to people, and become extremely hypersensitive to sound, to the point where the scuffle of a shoe on pavement is "like a knife in [his] brain". Nice observation, I think your really on point. "Listen to the sounds" I don't know what to make of it, but the original series had a heavy but subtle focus on how technology changes/subtracts/adds how we deal with trauma as individuals or communities. The original pilot had several awkward phone miscommunication about Laura's death. The police car pulling up behind Leland as he tries to re-assure his wife on the phone, the violent scissors that Ms. Briggs is fiddling with as she blithely talks to Ms.Palmer about how Laura's probably fine, the screaming girl that precedes the school intercom system turning on. And than theirs all the use of recorded voices and television- Cooper's tape deck, the video of Laura and Donna on the mountain, Dr.Jacoby's tapes,, the hospital surveillance camera not picking up the one-armed man.. FWWM also begins with a bunch of hosed up phone calls and camera's being unable to pick up on stuff. Also as much as BOB seems to be some primal evil, it is a world where the demons travel through electricity, can't ignore that. One of my favorite scene of the new series is Gordon Cole's office with the nuclear explosion photo juxtaposed with the Franz Kafka portrait. It almost seems too easy, but juxtaposing an artist who was so careful in mapping out the private, interior hells that often feel like a inaccessible and unspeakable nightmare with a historical image of literal incomprehensible nuclear hellfire that we all know exists out there seemed to really capture part of the theme of the show. crowoutofcontext fucked around with this message at 18:42 on May 27, 2017 |
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May 27, 2017 18:39
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Does it matter if it's stock footage? The drum tracks on Dead Cities were originally recorded for Tougher Than Leather (and nobody in Run-DMC plays drums, either).
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May 27, 2017 18:40
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I too have listened to the Chromatics song over and over the past few days. Also, watching this with headphones is a game changer. Whoever did the sound editing is my hero.
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May 27, 2017 20:10
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What's the title of the chromatics song?
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May 27, 2017 20:21
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CLARPUS posted:I too have listened to the Chromatics song over and over the past few days. Also, watching this with headphones is a game changer. Whoever did the sound editing is my hero. That's David Lynch.
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May 27, 2017 20:24
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Consummate Professional posted:What's the title of the chromatics song?
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May 27, 2017 20:32
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JazzFlight posted:Isn't the eeriness of the NYC shot due to it being HDR? I don't think this has any deep meaning, but its unsettling to watch. If we got to watch the rows align with the camera that would be very satisfying and have the opposite emotional effect. eSporks fucked around with this message at 21:19 on May 27, 2017 |
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May 27, 2017 20:34
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eSporks posted:One thing I noticed is that all rows of buildings start out aligned with the camera, and as the camera moves they become less and less aligned. Seemed to me to be echoing the zig-zag pattern on the Lodge floor.
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May 27, 2017 21:06
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precision posted:Seemed to me to be echoing the zig-zag pattern on the Lodge floor. And the way it's used in the title sequence. The swirling movement is very unsettling and almost makes me feel a bit nauseous. Contrast that with the original title sequence which is as peaceful and pastoral as can be. The difference in tone has to be deliberate and I'm sure speaks to what the tone of this entire season will be.
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May 27, 2017 21:11
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kaworu posted:Just on a random note, this brings me back to a point I've been meaning to make about how different things are, well, ~25 years later. The way this revival is juxtaposing old Twin Peaks with this new material is just brilliant, because in a way it causes us to observe this world of Twin Peaks 2017 from an outsider's perspective - from Agent Cooper's perspective. We've been locked up in the Black Lodge with him in a way, and we're now emerging and catching glimpses here and there of just how different things are both in Twin Peaks and the outside world. How perceptions have keenly changed. One of the things I was most looking forward to in the revival was what Twin Peaks would look like with a 2017 world—cell phones, modern cars, modern hairstyles, modern music—because in a lot of ways all the Lynch I've seen is stuck in this sort of "80s" aesthetic, even the more recent movies (I haven't seen Mulholland Drive or Inland Empire yet, but all the others—including The Straight Story—all feel like they're from a bygone era somehow). And so far the new TP feels pretty much as I expected it to, not "un-Lynch" at all. Somehow the aesthetic all fits nicely, even with the wider locations, the Manhattan skyline, the Nevada desert, the coffee in cardboard carriers. And yet there's something about the technology used in the setting that feels ... I don't know, artificially tied down somehow. Like for instance the camera rig in the glass box room. The kid has to keep getting up to change memory cards and stick them in an organizer. I'm like ... seriously? They don't have the video streaming to a massive data array? What kind of ridiculous setup is this? It's like something someone would come up with whose only experience with data storage is, like, tape drives in the 80s. And the same thing with the laptop that Bad Elvis Coop uses—in an era where even the most casual audience completely knows what Windows looks like inside and out, Twin Peaks has chosen to go with Ersatz Movie OS, something I haven't seen in like a decade. That's got to be a conscious stylistic decision, right? An unsettling sort of way to take you out of time and place—like, this isn't really Manhattan, this isn't really Las Vegas (they could have used a non-fictional casino, I'm sure). It's a parallel universe where things just don't work quite the same as they do here. At the same time, to your point about how things have changed culturally in the intervening 25 years—I think it's rather endearing how Lynch has gone to such unsubtle lengths to put his foot down on matters of modern social conscience. In the first episode alone we have "R-E-S-P-E-C-T" and "You want to make out a little?" "What do you think?" — just to hammer in the theme of consent being important in sex (especially as compared to all the poisonous, vicious takes on sex that pretty much all of Lynch's stuff has explored over the years). Even when dealing with something like prostitution, Jade is treated with the utmost respect, a professional on every level. And then, just as the capper, you get Lynch as Cole yelling straight at the camera to "fix your heart or die" when it comes to transphobia. It's a weird balance between the unreality of time and place versus the on-the-nose treatment of the social issues of the day.
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May 27, 2017 22:13
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My stupid theory: Dougie throws up something vaguely reddish before he gets sucked into the Lodge. Like, cherry red, maybe. Now that Cooper has found some coffee, he just needs to find some cherry pie to restore his vital energies.
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May 27, 2017 23:25
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Cicadalek posted:My stupid theory: Dougie throws up something vaguely reddish before he gets sucked into the Lodge. Like, cherry red, maybe. Now that Cooper has found some coffee, he just needs to find some cherry pie to restore his vital energies. I've watched the episode several times and I still can't tell if what Dougie throws up is the same thing as DoopleCoop (which is definitely garmonbozia). Dougie's does look different, like cat food and cough syrup or something.
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May 27, 2017 23:43
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It looks like cherry pie.
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May 28, 2017 00:00
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Data Graham posted:One of the things I was most looking forward to in the revival was what Twin Peaks would look like with a 2017 world—cell phones, modern cars, modern hairstyles, modern music—because in a lot of ways all the Lynch I've seen is stuck in this sort of "80s" aesthetic, even the more recent movies (I haven't seen Mulholland Drive or Inland Empire yet, but all the others—including The Straight Story—all feel like they're from a bygone era somehow). why would you stream data to a cloud if you're involved in an insanely secretive black project. think about this for one second. also all of evil coop's devices are clearly magical, he also plays a wireless recording of a landline conversation and has a conversation with lodge spirits on a weird box.
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May 28, 2017 00:05
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I enjoy that this show has me going back over it to capture images of vomit. Some pics from both scenes:  http://imgur.com/a/Hqzyq (marking it nws just in case you have an extension that opens pics automatically)Might be wishful thinking, but Dougie's little leaving does look like pastry and red stuff. Bad Cooper is definitely leaking garmonbozia, plus a lot of foul looking black poo poo. The whole Lodge switcheroo business seems to literally be draining for everyone involved, which is why i wonder if Cooper just needs some of that drat Fine Cherry Pie to get back in business. Maybe Dougie was powered by the cherry pie somehow, like how you need a hair or something from someone to make a voodoo doll. gently caress if I know.
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May 28, 2017 00:06
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https://www.youtube.com/watch?v=oWzNOg7XRi4 although the people wondering if the real world isn't really the real world, Phil Jeffries does say "It was a dream... We live inside a dream."
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May 28, 2017 00:10
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Cicadalek posted:I enjoy that this show has me going back over it to capture images of vomit. Some pics from both scenes: Totally agreeing with these observations. In Dougie's you can see bits of that garmonbozia (the yellow bits and the blackish streaks - maybe the blackish stuff is coffee? lol), but the fact it's solid and has a brownish center and a lot of reddish stuff on it does suggest a couple things: 1) it's not solid garmonbozia like what BOBCoop vomits up, 2) it could be interpreted as reminiscent of his favorite RR cherry pie, and 3) the fact that Jade has no reaction other than "gross, vomit - are you sick?" tells us that it's not hospital-inducing grossness like BOBCoop's. Who knows what the actual functional relevance could be, but hey that's what speculation is for.
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May 28, 2017 00:21
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