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Modrasone posted:Errr guys . . . . . The fact that people are likely gonna be coming up with lunatic poo poo like this for decades to come just makes me love the finale even more
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Sep 8, 2017 21:37
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Jimbot posted:I knew I was going to be disappointed when, what should have been a very cathartic moment - Dougie returning to Janey-E and Sonny Jim - felt like it was tacked on and brushed aside with no fanfare. It felt, to me, that David Lynch cares more about doing weird surreal stuff than the actual characters involved in those events. now I totally buy into the ideas and ending in episode 18. the surrealism surrounding it was great, but it does feel divorced from Cooper and Laura just because it took us 17 hours to get there. they had such minimal screen time and "real" Diane is such a non-entity besides macking and making sure people know she has a spine.
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Sep 8, 2017 21:59
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Escobarbarian posted:The fact that people are likely gonna be coming up with lunatic poo poo like this for decades to come just makes me love the finale even more It gets funnier each time. "I have a potentially insightful idea about how the finale should be interpreted....well, time to gently caress it all up by attempting to impose a happy ending on the whole thing!" People are so in love with S1 Cooper that they refuse to accept that he's ever hosed up. Whether it's Jean Renault rightfully calling him out on some of his poo poo in S2, the way he botched the ending of S2, or his crystal clear confusion with the existential horror at the end of S3. Nope, sorry, I found him quirky and charming so he's infallible.
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Sep 8, 2017 22:02
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We're all Bill Hastings now. My favorite part of that sync theory is "Freddie’s GREEN glove matches the GREEN Odessa sign." Mystery solved. A True Jar Jar Fan fucked around with this message at 22:49 on Sep 8, 2017 |
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Sep 8, 2017 22:04
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Escobarbarian posted:The fact that people are likely gonna be coming up with lunatic poo poo like this for decades to come just makes me love the finale even more it's the Dark Side of the Moon / Wizard of Oz thing, over and over forever
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Sep 8, 2017 22:09
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Dr. Fishopolis posted:it's the Dark Side of the Moon / Wizard of Oz thing, over and over forever Yeah it's like 'look at these moments where it all syncs up', but then over two 50+ minute episodes there's going to be a lot of nonsense that you're subjecting yourself to that have nothing to do with one another. It's a fun theory, like those kind of things usually are, but there's so little in it.
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Sep 8, 2017 22:18
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https://open.spotify.com/album/2H4olJjNjDU0FwsFbYvvk5?si=dfqfDlPR Yo, the complete soundtrack album from this season is out now on Spotify (and all other services too I guess). I know what I’m gonna be listening to all weekend!
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Sep 8, 2017 22:56
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Dark Space Low is a really good and haunting bit of music from Badalamenti. Hell of a name for that particular track too.
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Sep 8, 2017 23:02
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Rageaholic Monkey posted:https://open.spotify.com/album/2H4olJjNjDU0FwsFbYvvk5?si=dfqfDlPR If you pick this up at Target physically, it comes with a roadhouse coaster. 
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Sep 8, 2017 23:04
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Why cookie Rocket posted:It gets funnier each time. "I have a potentially insightful idea about how the finale should be interpreted....well, time to gently caress it all up by attempting to impose a happy ending on the whole thing!" People are so in love with S1 Cooper that they refuse to accept that he's ever hosed up. Whether it's Jean Renault rightfully calling him out on some of his poo poo in S2, the way he botched the ending of S2, or his crystal clear confusion with the existential horror at the end of S3. Nope, sorry, I found him quirky and charming so he's infallible. Fans of the show liking characters from it?! That's just crazy.
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Sep 8, 2017 23:30
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I want a Deadly Premonition sequel inspired by season 3 of Twin Peaks.
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Sep 8, 2017 23:31
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SeANMcBAY posted:I want a Deadly Premonition sequel inspired by season 3 of Twin Peaks.
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Sep 8, 2017 23:39
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Jimbot posted:Fans of the show liking characters from it?! That's just crazy. I like Cooper, but I can see that he has some deep and crippling flaws that harm those around him. Cooper fanbois see a confused old man at the end of season 3 and decide that he's not saying "what year is it" he's saying "trap sprung, ultimate evil in the universe, good guys win forever!" They are literally unable to take in the audiovisual information provided because their conviction that Cooper=amusing=good is so overpowering.
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Sep 9, 2017 00:14
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It warms my heart to know that Lucy finally figured out cell phones in the end
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Sep 9, 2017 00:41
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Bird in a Blender posted:It's not bad, but he says he's driving a 1980s car and is in a 1980s motel room. That to me is a 1950s car, and 50s motel room. They even play the same song from the radio station in episode 8 when Diane and Cooper are having sex. I don't think it necessarily destroys his thesis, I think it just needs to be reworked a little. I hadn't thought about the alternate world as being a creation of the White Lodge, I always put it as a creation of the Black Lodge/Judy. They started in a 50's car to a 50's hotel, and after the bad sex Cooper left from a two-story 80's hotel to an 80's car. Definitely *something* happened to the timeline/world/whatever overnight. I don't understand how they go from 201X -> 1950 -> 1989, the first one is just a portal I guess anyone could go through; the second is something Judy does for some vague reason.
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Sep 9, 2017 00:42
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Part of me is still bummed that this wasn't the final scene of season 3: https://www.youtube.com/watch?v=UmyzYBeGrE8 Maybe The Fireman and Senorita Dido could've harmonized with her.
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Sep 9, 2017 01:05
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DOPE FIEND KILLA G posted:It warms my heart to know that Lucy finally figured out cell phones in the end Can we changed the thread title to this before we goldmine it?
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Sep 9, 2017 01:17
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Rageaholic Monkey posted:https://open.spotify.com/album/2H4olJjNjDU0FwsFbYvvk5?si=dfqfDlPR The Spotify version is missing a bunch of stuff from the physical releases, like the Lynch remix of "American Woman," the Eddie Vedder song, etc.
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Sep 9, 2017 01:18
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Why cookie Rocket posted:I like Cooper, but I can see that he has some deep and crippling flaws that harm those around him. Cooper fanbois see a confused old man at the end of season 3 and decide that he's not saying "what year is it" he's saying "trap sprung, ultimate evil in the universe, good guys win forever!" They are literally unable to take in the audiovisual information provided because their conviction that Cooper=amusing=good is so overpowering. Going by that reading of the ending, it seems like it was more of a gamble than a certainty to me. It paid off. You can be certain of a plan but not of its success. I agree that I don't think it was a mission success phrase for him but an actual question. Making him that certain would have diminished Judy but in the end, I buy into that he succeeded. I liked those theories more than the nihilistic ones. Jimbot fucked around with this message at 01:23 on Sep 9, 2017 |
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Sep 9, 2017 01:19
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Why cookie Rocket posted:I like Cooper, but I can see that he has some deep and crippling flaws that harm those around him. Cooper fanbois see a confused old man at the end of season 3 and decide that he's not saying "what year is it" he's saying "trap sprung, ultimate evil in the universe, good guys win forever!" They are literally unable to take in the audiovisual information provided because their conviction that Cooper=amusing=good is so overpowering. He was really reaching with those moments where things "sync up" too. The ultimate victory comes as Cooper deep-fries some handguns, after an AMAZING sync-up where the ring clatters to the floor of the black lodge at the same time as one of the guns! He gets an E for Effort though, actually going through and watching both episodes simultaneously. And there is definitely some symmetry going on, as well as a number of things that, well, appear to need decoding. One of the really fantastic things about these two final episodes is that, like... Lynch has basically presented us with an unsolvable puzzle, in part because we have incomplete information and in part because it is entirely by design. As we know Lynch generally seems to have contempt for people who claim to have "solved" his work, or try to nail down some sort of "definitive meaning" - or worse yet, get him to nail it down. And in some of his films (like Mulholland Drive) the way the story itself is told is a part of the mystery and the meaning - and that is a solvable puzzle. Like how parts of Lost Highway aren't quite so confounding once you nail down the facts, but that's a drat far cry from explaining all the weirdness. It's not as if figuring out the exact "facts of the case", so to speak, will even give us a definitive reading of the TPs more mysterious sequences - and that is as it should be. I don't ever really want to think anyone knows EXACTLY what was going in Club Silencio. No more than I want to really get down and analyze the deep specifics of the Hollywood Boulevard death scene in Inland Empire. I *certainly* would never want to be told definitively by someone (even Lynch himself) what the ending to Fire Walk With Me (or even the ending we just saw) truly and definitively means. I also just want to voice a quick opinion here... Ultimately, I think that the ending/final scenes of FWWM serve as a far more powerful and poignant wrap-up to the story of Twin Peaks. At least, for me. I find this to be kind of a sad realization, because I really loved this season a great deal. But it's probably unfair to compare this 18-hour monstrosity (in a good way) to the theatrical cut of FWWM, which season 3 has only further convinced me is an untouchable masterpiece. I dunno, I feel like FWWM just... has a freshness and energy about it, and its creepy/weird sequences are legendary and perfect, and it scares me more deeply every single time I see it. It's hard to improve on something like that, and I actually think that's a big reason why Lynch refused to even try for so long. I mean, I honestly view parts of Inland Empire as something of a (semi-failed) attempt to recreate the denouement of FWWM. Anyway, I'm firmly of the opinion at this point that Season 3 almost requires a pretty deep meta-textual read to get at any kind of truth, at this point. I think part of this is actually acknowledged in a somewhat annoyingly blunt fashion and there is a certain... flippant cynicism to its very existence that, I must admit, is sort of amusing. I mean poo poo - it starts at the very beginning, straight-away in the first scene with Jacoby taking off the dark glasses to reveal his trademark blue and red specs. A wink and a nod and away we go - that was how season 3 started. So in a way, it would be foolish to ignore its meta-textual aspects. Lynch calls attention to this right away, and continues to do so with the glass box scenes, which are about as meta-textual as you get. And there are just freaking many more examples. Yep, it's Twin Peaks, but it's actually Twin Peaks: The Return - the title itself is another amusingly self-aware wink, given that so much of this season was about how you can never go home again. Reminds me of TMFAP at the end of Missing Pieces. Coop's stuck in the Black Lodge and he's like "what now" and the little guy tells him "Now there is no place left for you to go... but home!" and gives an absolutely hair-raising cackle. That could have been stuck onto the end of episode 18, actually.
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Sep 9, 2017 01:25
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chime_on posted:The Spotify version is missing a bunch of stuff from the physical releases, like the Lynch remix of "American Woman," the Eddie Vedder song, etc. 
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Sep 9, 2017 01:34
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zygnal posted:They started in a 50's car to a 50's hotel, and after the bad sex Cooper left from The Odessa scenes aren't set in the 80s, there's a pretty modern gas station that they stop at
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Sep 9, 2017 01:37
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HorseRenoir posted:The Odessa scenes aren't set in the 80s, there's a pretty modern gas station that they stop at And a population sign that lines up with the 2010 census. I still maintain the Richard/Linda "world" is not some pocket dimension or a trap dimension created by the white lodge or anything nearly so contrived. It's just our dimension. Facts seem to line up with this, more or less.
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Sep 9, 2017 01:59
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It's the lovely Garbage Trash dimension. It just happens to be exactly like ours.
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Sep 9, 2017 02:12
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I love that the hip-hop song that plays while Ike The Spike stabs that woman to death is on this soundtrack 
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Sep 9, 2017 02:24
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chime_on posted:The Spotify version is missing a bunch of stuff from the physical releases, like the Lynch remix of "American Woman," the Eddie Vedder song, etc. More importantly, it's also missing James' song.
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Sep 9, 2017 02:25
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There are two albums of S3 music, one is the soundtrack with Badalamenti's stuff and American Woman, Windswept, etc; the other is "music from..." and it has all the Roadhouse performances, including Just You.
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Sep 9, 2017 02:34
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SeANMcBAY posted:More importantly, it's also missing James' song. Thankfully I already had that from the Season Two soundtrack, so I just noticed the new stuff that wasn't there. Maddeningly, the soundtrack is missing one of the Thought Gang tracks from the show. I also wish it had stuff like the chopped and screwed Moonlight Sonata, the backwards "Audrey's Dance," and that bonkers music from the conga line with Dougie and the Mitchum crew. What can you do, though?
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Sep 9, 2017 02:38
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I just bought both!
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Sep 9, 2017 02:40
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I actually didn’t notice the autotune on Rebekah Del Rio’s No Stars during the episode, but now on the soundtrack it’s a lot more pronounced. Her voice sounds like it’s digitally warbling. Possibly intentionally to add to the whole dreamy non-exist-ence of the Roadhouse?
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Sep 9, 2017 02:50
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kaworu posted:And a population sign that lines up with the 2010 census. In our dimension the diner says "RR2GO" and it's in North Bend, hundreds of miles from where Twin Peaks is supposed to be.
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Sep 9, 2017 03:09
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Modrasone posted:Errr guys . . . . . This is a very sweet and optimistic reading, even if it feels like it is really reaching/stretching to make some of its comparisons. Edit: Like Esco, part of what I dig about this show and the finale in particular is that it is going to generate a TON of analysis/readings for years (decades?) to come. I just hope it doesn't end up a Sopranos like situation where 98% of a magnificent show gets largely sidelined for endless discussion of the final couple minutes of the last episode. Jerusalem fucked around with this message at 03:20 on Sep 9, 2017 |
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Sep 9, 2017 03:16
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Rageaholic Monkey posted:I actually didn’t notice the autotune on Rebekah Del Rio’s No Stars during the episode, but now on the soundtrack it’s a lot more pronounced. Her voice sounds like it’s digitally warbling. Possibly intentionally to add to the whole dreamy non-exist-ence of the Roadhouse? According to a sound person who worked on it, the original didn't sound like that but after going through some kind of compression ended up having a more metallic sound. No auto-tune, though.
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Sep 9, 2017 04:27
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I'm rewatching Episode 8 and it's amazing buuut I'm having a thought... I don't think the Mother/Experiment puking up eggs is Judy. Think about it: Judy is negativity but Mother produces golden eggs. Mother produces, not negates. We fly into her golden stream and see a tulpa seed(?). The giant doesn't worry when he sees HER, he worries when he sees BOB. He produces a golden seed just like we see in her golden (creative?) spittle stream. I think BOB is a stillborn seed, a tumor, a cosmic cancer, but i dont think he's... intended. I think he's an error... to be corrected edit: wait a tic... if 10 is the number of completion, then Episode 8 + 10 is 18... maybe we should watch 8 and 18 simultaneously! 
That Dang Dad fucked around with this message at 04:52 on Sep 9, 2017 |
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Sep 9, 2017 04:31
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Here's a potentially very stupid question: do any of the townies in S3 ever actually say anything to indicate that Laura was murdered? Bobby cries....because she disappeared? Cooper showed up to investigate....her disappearance across the border? Does the whole thing take place in the timeline after Cooper "saves" her? Edit: the Secret History book refers explicitly to her murder. Is that why it's the secret history? The "unofficial story" as opposed to the history that is shown in S3? Why cookie Rocket fucked around with this message at 04:36 on Sep 9, 2017 |
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Sep 9, 2017 04:34
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I really like this explanation. It makes sense without having to reach too hard. http://www.waggish.org/2017/twin-peaks-finale/
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Sep 9, 2017 04:36
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Ccs posted:I really like this explanation. It makes sense without having to reach too hard. The idea that the white lodge took her away from Cooper to create this parallel world is a bit out there. First off, the Judy cue sounds way more like a horrible loving sound effect in an ominous scene than an agreed upon signal. Second, why is Cooper so surprised if he knows it's the white lodge grabbing Laura. Third, why is Laura letting out the trademark Palmer scream.
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Sep 9, 2017 05:00
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Why cookie Rocket posted:It gets funnier each time. "I have a potentially insightful idea about how the finale should be interpreted....well, time to gently caress it all up by attempting to impose a happy ending on the whole thing!" People are so in love with S1 Cooper that they refuse to accept that he's ever hosed up. Whether it's Jean Renault rightfully calling him out on some of his poo poo in S2, the way he botched the ending of S2, or his crystal clear confusion with the existential horror at the end of S3. Nope, sorry, I found him quirky and charming so he's infallible. i feel like someone (not me) could make a convincing case that cooper was always judy
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Sep 9, 2017 05:25
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Kawabata posted:The idea that the white lodge took her away from Cooper to create this parallel world is a bit out there. First off, the Judy cue sounds way more like a horrible loving sound effect in an ominous scene than an agreed upon signal. Second, why is Cooper so surprised if he knows it's the white lodge grabbing Laura. Third, why is Laura letting out the trademark Palmer scream. Rewatching it, Cooper looks more sad/resigned at the idea the bringing Laura at a spot where she could be captured makes sense. He doesn't look surprised. In fact, to me, he looks sad but expectant at what just happened.
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Sep 9, 2017 05:27
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Odddzy posted:Rewatching it, Cooper looks more sad/resigned at the idea the bringing Laura at a spot where she could be captured makes sense. He doesn't look surprised. In fact, to me, he looks sad but expectant at what just happened. I don't disagree exactly but I still haven't seen a single "good guys win" interpretation that actually addresses "what year is this" at all. If Cooper has any agency in the ending, why is he so confused by everything that happens after they arrive in TP?
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Sep 9, 2017 05:59
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