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caligulamprey posted:It's David Lynch's Bioshock: Infinite.
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Sep 4, 2017 07:26
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Sarah Palmer has to be one of the most unsettling characters I've seen on TV in a long time. Every time that house showed up I got scared.
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Sep 4, 2017 07:31
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Here's a weird idea I had a while back. What if there never was really a Diane to begin with? There was the theory during the original series that she wasn't real, because we only ever saw Cooper Talking to her and never the woman herself. I remember read a story somewhere about a monk living in a monastery that created a Tulpa by just describing it to the other monks and talking about/to it like it was real, eventually resulting in it actually becoming real. What if Cooper was trying to create a Tulpa in the same fashion, by way of "Diane", only it didn't become real until a long while after he became trapped in the Black Lodge, from other agents talking about her, believing in her, and making her real?
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Sep 4, 2017 07:32
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IIRC Diane is the one who sends help for Cooper after he got shot back in the beginning of Season 2. I think she's always been real.
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Sep 4, 2017 07:33
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Diane is the audience surrogate.
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Sep 4, 2017 07:35
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Get hype. Take a lomg drive. Wtf nothing happened. gently caress 2017. Cooper .got owned like a bitch
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Sep 4, 2017 07:36
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Raxivace posted:IIRC Diane is the one who sends help for Cooper after he got shot back in the beginning of Season 2. I think she's always been real. Then maybe she just became real earlier than I thought? Maybe that moment was her actual creation?
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Sep 4, 2017 07:37
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E18 was a wet fart from David Lynch's butt.
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Sep 4, 2017 07:37
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Really thought lynch was gonna let the good guys win for once
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Sep 4, 2017 07:39
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GobiasIndustries posted:E18 was a wet fart from David Lynch's butt. Lol if you don't gladly huff David Lynch's jenk. Just, lol
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Sep 4, 2017 07:40
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Ouch my balls
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Sep 4, 2017 07:41
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https://en.wikipedia.org/wiki/The_Little_Girl_Who_Lives_Down_the_Lane
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Sep 4, 2017 07:41
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GobiasIndustries posted:E18 was a wet fart from David Lynch's butt. 
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Sep 4, 2017 07:44
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As much as I love this ending, it really, really hurts. Like someone I love has just died. Poor Cooper.
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Sep 4, 2017 07:45
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"We are like the dreamer who dreams, and then lives inside the dream" has always been a theme of Lynch's, as well as a search for connection with others. We are, in totality, utterly isolated. You will never, ever truly know or share your life with any other person because all information is filtered through your own perception of your life - your own dream of your own life. And what is more real - your perception of your own life, or the objective truth of your life, which you move around in? It's impossible to know or understand the latter, and the best thing we can do as a people is understand our own isolation and act in a way that softens the walls that we'll never be able to tear down.
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Sep 4, 2017 07:46
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Alright, finally got done with the finale and caught up on the thread. I liked it very much, but it's a tough pill if we don't get any more episodes. I think E18 works really well as a lead in to another season, but it's problematic if this is all we get. I was soundly in the don't-think-we'll-get-more-episodes camp before, but my thinking has changed after this. I think the finale isn't intended to sew things up and is laying out the groundwork for the ongoing story. I think Cooper basically announces this at the Sheriff's station when he says, "I hope I see all of you again, every one of you." Cooper is in a lot of ways a Mary Sue for Lynch and it's interesting to me to have him give a hopeful farewell that seems that explicit. I don't think the last episode is fully "solvable" as it stands, because it isn't intended to be the end of the story (it might end up that way anyway though), but I didn't find it nearly as hard to make some sense of as a lot of other late era Lynch, particularly when we have Lost Highway/Mulholland Drive/Inland Empire to contextualize a little bit. It really looks like the setup for a new arc that's fueled by a lot of Lynch's now trademark duel identity stories. I don't think I saw anyone mention it, but I was thinking the house where Cooper finds Laura/Carrie and the dead guy is the same house where Cole nearly gets sucked into the vortex and Bill Hastings gets his head caved in. (EDIT - Rechecked and I was totally wrong. The fence threw me off). Also, this is a big stretch, but did it look like the body on the couch in that scene had an abdominal rip like Cooper's doppelganger gets when Bob is extracted? NObodyNOWHERE fucked around with this message at 16:45 on Sep 4, 2017 |
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Sep 4, 2017 07:46
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Guys... every season of Twin Peaks ends on a cliffhanger. This one does too. Part of the magic of this show is that it ends on a prompt for the next season, whether or not that actually happens. If season 4 never materializes, you get to imagine what happens next. If it does, you can bet your rear end it'll end on a cliffhanger too, because even when it's over for good, it can still continue in your ~*~imagination~*~
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Sep 4, 2017 07:50
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Just finished and was pleasantly surprised how it chose to end. Not sure what else I think yet though.
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Sep 4, 2017 07:57
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Sep 4, 2017 08:00
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Magic Hate Ball posted:"We are like the dreamer who dreams, and then lives inside the dream" has always been a theme of Lynch's, as well as a search for connection with others. We are, in totality, utterly isolated. You will never, ever truly know or share your life with any other person because all information is filtered through your own perception of your life - your own dream of your own life. And what is more real - your perception of your own life, or the objective truth of your life, which you move around in? It's impossible to know or understand the latter, and the best thing we can do as a people is understand our own isolation and act in a way that softens the walls that we'll never be able to tear down. life is seeking to normalize our existence within the continuum of others' existence. life3 is a series of moments which means at one moment we are isolated and alone and the next with everyone else. a series of moments doesn't mean we are continually isolated without understanding. it means our perceptions changes moment to moment. cooper becomes alone, but can understand and belong. coopers finds his family becomes alone seeks one to protect becomes alone may find his way again. what is more real is inconsequential unless you can judge the real and the not. who can judge? if no moment can be truly judged as real, then judge no moment as more real. perception becomes immediate and does not matter. you are only perceiving. what is more real does not matter because you have only your perception. if you know your perception is flawed then why not trust what you cant understand but feel? a man is a teapot or he is not. who knows?
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Sep 4, 2017 08:02
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I didn’t like Lost Highway before and I did not care for the remake.
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Sep 4, 2017 08:04
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Isn't Laura also a transcendent being with pure light hidden behind her face? Is that even the "same" Laura that Coop interacts with in this finale? It's so hard to get a read on Coop in the finale. I want to believe that he was acting intelligently and benevolently toward a resolution, and that he was making progress with Laura in the weird alternate dreamscape. After all, I don't think he necessarily was trying to create a paradise where Laura never gets killed. He was just trying to take Laura to her home/to meet her mother for unclear but very important reasons. One of the crucial things to me is the unnerving way Coop's face is superimposed over the "triumphant" scene in episode 17. All the good guys are there, Bob was literally defeated in one-on-one combat, Coop reunites with Diane, and finds himself surrounded by most of his favorite people in the whole world (minus Janey and Sonny Jim). It feels like such a triumphant conclusion to the point of absurdity, but Cooper's superimposed face makes the whole sequence unsettling. He then goes on to say that "we are living in a dream," and that whole sequence does seem like it's too good to be true. No one gets hurt, Bad Coop is sent back to the lodge, all the good guys are in Twin Peaks defeating Bob for real. Then the clock starts ticking forward and backwards. It seems like Cooper realized something fundamental about the world they were living in--namely, its unreality. We already know that Audrey was doing the same deal of being "a dreamer who dreams, and then lives inside the dream." Between the clock acting strangely, Sarah's boxing match looping, and the extreme unreality of the scene with the Bob orb (a cgi orb floating around the sheriff's office, a fiery hole opening up in the ground), it seems pretty clear that the world we're accustomed to seeing is also some kind of dream. But it's hard to say whose dream it is, and what it would mean to wake them from that dream.
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Sep 4, 2017 08:04
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what was the deal with the diane cooper hotel sex scene. at first i thought it was supposed to hint at something being wrong with diane. she saw a doppleganer or some sort of image of herself outside right before the lovemaking begins. during the scene, i thought it showed something of cooper being more like his evil bob possessed self. the slackness of his face reminded me of booper. i half expected him to turn evil by the end of the scene. however, by the end of the scene, it had turned again to diane. she was covering his face and seemed to be sadly enraptured, as if she was living a fantasy, and then realized it wasn't real. fuuuuuuuuck.
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Sep 4, 2017 08:09
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Also, she was raped by his literal doppelganger so that may have made looking at him kind of uncomfortable for her
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Sep 4, 2017 08:11
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Knorth posted:Also, she was raped by his literal doppelganger so that may have made looking at him kind of uncomfortable for her goddamn
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Sep 4, 2017 08:11
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Rageaholic Monkey posted:We never found out what the addict girl with the kid screaming “119” was about, did we? MK Ultra project 119 was the CIA attempting to influence behavior remotely using micro and radio wave frequencies. There's a lot of hidden conspiracy poo poo in this show, and Frost's book. This includes a numerology-math puzzle about the names of the characters... Most like Philip Jeffries, Gordon Cole, Major Briggs and Dale Cooper add up to 119. In regard to that ending. I believe it is cosmic horror. Cooper thinks he's winning, but the lodge spirits warp and control the world he and laura inhabit. On writing horror H.P. Lovecraft said, "Never explain anything." God Of Paradise fucked around with this message at 08:33 on Sep 4, 2017 |
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Sep 4, 2017 08:13
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Stunt Rock posted:I didn’t like Lost Highway before and I did not care for the remake. GobiasIndustries posted:E18 was a wet fart from David Lynch's butt. nopants posted:Get hype. 
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Sep 4, 2017 08:17
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It feels discontinuous with the narrative. That's what's bothering me.
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Sep 4, 2017 08:21
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still dont get the creamed corn
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Sep 4, 2017 08:22
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nopants posted:still dont get the creamed corn It's a physical manifestation of human pain and sorrow.
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Sep 4, 2017 08:25
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I didn't know what was expecting, but I got everything I ever wanted. Still don't understand quite why, but that ending felt really satisfying to me. I can see how it might make others angry though.
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Sep 4, 2017 08:26
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Yo where's my guy Kaworu to give his take on all this
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Sep 4, 2017 08:31
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Accretionist posted:It feels discontinuous with the narrative. Yeah that's what weird to me. It feels completely out of place with the previous 16 episodes.
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Sep 4, 2017 08:34
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Anyone think the Jumping Man was escaping into the world when Cooper and Mike go to visit Jeffries?
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Sep 4, 2017 08:39
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nopants posted:what was the deal with the diane cooper hotel sex scene. at first i thought it was supposed to hint at something being wrong with diane. she saw a doppleganer or some sort of image of herself outside right before the lovemaking begins. during the scene, i thought it showed something of cooper being more like his evil bob possessed self. the slackness of his face reminded me of booper. i half expected him to turn evil by the end of the scene. however, by the end of the scene, it had turned again to diane. she was covering his face and seemed to be sadly enraptured, as if she was living a fantasy, and then realized it wasn't real. fuuuuuuuuck. I read this take up-thread a couple of times about Cooper looking Bob possessed or like the doppelganger in that scene, but I don't think that's right. I think that what's going on in that whole series of scenes is Cooper and Diane are transitioning into this alternate version of events and things are changing, including who they are "supposed" to be in that version of things. They even talk about how things could change at the beginning of their journey and they don't know what it will be like. When they have sex, it seems to me that they're slipping further into the new "Richard and Linda" reality, but Cooper has inside information from the Fireman to keep him grounded in his Cooper identity while Diane doesn't. Midway through the sex she starts looking sad and covering his face. I think that's the moment where he's really becoming someone else to her and she recognizes that she's losing him in the way that she knew him and she covers his face to make it less painful. Given the deep connection those two characters are supposed to share, I find it to be one of the sadder scenes in the new season. I don't think Cooper is caught up in the Richard role though at all, like some Redditors seem to think. He introduces himself as Dale Cooper in the last part of the episode, after all. Also... 
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Sep 4, 2017 08:39
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What an incredible and strange tv show. I'm definitely going to rewatch the whole thing at some point, probably with some nice headphones to get all the terrific sound design right up in my face. I don't think I want another season as much as I just want more proper surreal horror and that art film styling in things generally but I sure wouldn't mind it
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Sep 4, 2017 08:42
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Jesus, this last episode has its hooks in me. Especially everything after Coop? and Diane? get to that rural one-story motel in their 1950s-60s car, and then in violation of every horror movie warning, split up, and Coop? goes out of sight into the office. (And then Diane? sees another one (of her). And then the sex scene. And then the Richard/Linda note. AND THEN it's a different motel and a different car! And then,,,) My first thought at the very end was, oh come on you motherfucker, but that overall, extended sense of creepiness, existential dread has stayed with me. In conclusion, I'm sorry you got your heads bit off, dumb watching-the-cube guy and horny two-lattes girl. Mister Mind fucked around with this message at 08:45 on Sep 4, 2017 |
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Sep 4, 2017 08:43
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Mister Mind posted:In conclusion, I'm sorry you got your heads bit off, dumb watching-the-cube guy and horny two-lattes girl. Perhaps they are the ones who represent us, now
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Sep 4, 2017 08:45
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Your Parents posted:I don't understand how Coop finally saving Laura is a bad and bleak ending. The Lodge spirits try one last time to keep their hooks in Laura by pulling her into this alternate reality of mundane suffering at Judy's, where she's a diner waitress, stuck in that role for 25 years, and also a desperate murderer hiding out in her home and fearing for her life. Cooper finds her and convinces her it's fine, and she's safe, and she can go home. At the last second, Mrs Tremond/Chalfont tries to trick Coop into thinking he failed, to give up and walk away, lost forever, but Laura listens to the sounds, hears Sarah calling her, and it all comes back. She screams and the last veil of illusion falls away. I think the very final moment of the finale (and I guess... series?) proves that Laura isn't really saved. A part of her still exists in this new universe, and that means that the Black Lodge's power is still very much alive, and will find her again.
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Sep 4, 2017 08:52
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God Of Paradise posted:MK Ultra project 119 was the CIA attempting to influence behavior remotely using micro and radio wave frequencies.  Yeah, I've had a few hours to sit on it and I really think I dig the "Cooper can never fully win because not everything's in his control" element. It still leaves a lot of the season's threads unanswered, but like Hate Ball said, it doesn't matter. That's all part of a timeline that no longer exists as we once knew it. So like, maybe Audrey was in a mental institution, but we're in a different dimension now so that's not important anymore.
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Sep 4, 2017 09:02
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