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Peacoffee posted:Before the tea kettle thing seems to have replaced it, most of the people I knew thought it looked like a bell in a way, and someone on here posted a video of someone resonating meditation bowls? i think. My memory was that the sound of the bells being "played" was exactly the hum from The Return
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Sep 21, 2017 14:09
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Volte posted:It's not exactly the same hum, but there's a similar noise every time the giant appears.  the Vertigo theme song at the end. I didn't see that mentioned when someone was talking about the parallels between Vertigo and episode 17/18.
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Sep 21, 2017 14:19
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wa27 posted:
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Sep 21, 2017 14:45
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Volte posted:That's just edited into the video for some reason, it's not part of the episode. Well.. that explains why I don't remember it then.
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Sep 21, 2017 14:52
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...! posted:Doing my yearly rewatch and discovered that: Molly Shannon confirmed for Judy
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Sep 21, 2017 16:06
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And he died from vigorous sex. 
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By the way, I've found Billy. That's him quote:What the hell, Billy? Oh, God, something awful's in there. He got too close to the thread. And More fucked around with this message at 22:44 on Sep 21, 2017 |
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Sep 21, 2017 22:11
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Raxivace posted:I don't remember the hum in season 2 at all. Is there a clip online anywhere? Season 2 episode 20: Path to the Black Lodge, about 21:00-21:25, audrey says to Ben shes "got to go," and that they can talk about it later, he kneels at the door to his office where she closed it behind her. He hears the hum, loud, turns--fast cut to pete talking about seeing josie in the walls, and then telling audrey his car "runs like a dream" when she asks to use it. This is also the episode where Cooper and Annie touch, and she drops the coffee behind the counter, and it breaks on the floor, running somewhat viscous from the cup. Hard to tell if its meant to be slowed down or actually changed, like in the lodge later. Although maybe the lodge coffee scene is just showing times flow, and the lodges control over it there being demonstrated. E: episode 20 also has the RR scene with that woman eating cherry pie and her arm starts shaking so violently she drops the fork. The episode ends with a lot of twin peaks motifs: douglas firs, street lights, then that final shot of glastonbury grove and the shimmer of the red curtains on the engine oil. The final few episodes of season 2 have a lot of weird things going on. There's the scene of Bobby and Shelly in the RR talking, then the german waitress comes in late, they make the same "jump start the car eh?" Joke they made in season 1 episode 1, and the music is CREEPY and cant be incidental, sounds like a track from Fire Walk With Me, but maybe not. Its already looping in time. Also meditation bowls come in many sizes and sounds, the sound from season 2 just sounds like a smaller one being worked differently by the tool. An issue-laden wikipedia page on Singing Bowls, says they are used: "In some Buddhist practices, singing bowls are used as a signal to begin and end periods of silent meditation. Some practitioners (for example, Chinese Buddhists) use the singing bowl to accompany the wooden fish during chanting, striking it when a particular phrase is chanted. In Japan and Vietnam, singing bowls are similarly used during chanting and may also mark the passage of time or signal a change in activity, for example changing from sitting to walking meditation." It classifies them as a type of standing bell. Google image search the bells of some buddhist temples. And if people are wondering: they come big enough to put your jefferies inside of. Final less interesting detail: the lynch foundation got a pretty prominent donor credit in the new 18 hour The Vietnam War documentary that burns and novick have been working on for 10 years. Peacoffee fucked around with this message at 01:25 on Sep 22, 2017 |
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Sep 22, 2017 00:57
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I don't have my S1 discs handy. In S1, when Cooper first goes to the Black Lodge and meets Laura, when she walks over to him to kiss him and whisper, do her feet make that weird "vvvvvp" sound that they do in S3? I just re-watched the second hour of S3, and our glimpse of Sarah right after Cooper goes into the glass box and then vanishes from it (to be replaced by Judy who then snacks on the coffee lovers) doesn't seem as random as it did the first time I watched it.
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Sep 22, 2017 04:57
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Peacoffee posted:It classifies them as a type of standing bell. Google image search the bells of some buddhist temples. And if people are wondering: they come big enough to put your jefferies inside of. 
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Sep 22, 2017 06:54
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Hijinks Ensue posted:I just re-watched the second hour of S3, and our glimpse of Sarah right after Cooper goes into the glass box and then vanishes from it (to be replaced by Judy who then snacks on the coffee lovers) doesn't seem as random as it did the first time I watched it. At the time, we had no idea that the entity known as "Judy" was at all directly connected to Sarah Palmer. Now, it absolutely seems VERY significant that we are watching her observe this violent and carnivorous behavior by animals *directly* after we see Cooper vanish. If we were to assume that time is perfectly linear on the show and Sarah Palmer watching TV is happening immediately after Cooper vanishes (and what else would she be doing on ANY given night but chain-smoking and drinking herself to sleep/black-out every night anyway) then she'd have been watching that nature show while her... avatar of hatred, perhaps, was in the glass box and killing Sam and Tracey. I'm fuzzy on the whole thing. But you know, I did figure out the really key and important question behind that whole scene. Took me a while, but here's what I want to know: Who, or what, was responsible for the seemingly "impossible" disappearance of the security guard? Seriously - there was no place for him to go, no place to hide, and he just.... *pfft* vanishes - pops right out of thin air, which as we know is something that can and does happen with some frequency on this show/in this world. And what was the ultimate result of the Guard disappearing? First of all, it delays Sam (and by extension Tracey) exactly long enough to the very second in order to keep Sam from OBSERVING the appearance of Cooper. And we know from that one weird FWWM scene with Coop repeatedly looking at the camera, then going to the feed room, then looking at the camera again that there is SOMETHING about someone being observed both by a person and a video that would SEEM to make people like Jeffries or Cooper who have spent extensive time in the Lodges/other states able to be... visible, or captured on film. I can't quite say I understand it, but it was very notable to Gordon Cole had video footage from MANY MANY angles of that glass box, and none of those cameras caught so much as a glimpse or shadow of Cooper - just a glimpse of the being that murdered Sam and Tracey. But anyway, about the security guard - so his disappearance not only provides exactly enough of a delay, but it is ALSO what, I believe, allows for the appearance of whatever killed them. I feel like (and I think others would agree) that whatever killed them was "summoned" by their sexual energy, or attracted to it, or hateful of it, somehow. It just seems clear that there's likely a reason why a security guard is there insisting that Tracey not show up. And yet... On the platform in front of the box there is not a chair, nor even what one could accurately term a "couch" or "sofa", either. In fact, what Sam is sitting on is called, in furniture parlance, a "Love Seat", that is to say, a short couch with only room for two people to sit closely together. It may be that there was nothing supernaturally mysterious about the guard - or about his timing, or Tracey's timing, for that fact. I also find it interesting that their act of intercourse, it would seem.... summoned Judy. More or less. Right? I mean, we all seem to agree that what was in the box was connected/related to Judy somehow, yes? It was certainly a violently destructive yet definitely feminine force/entity, Assuming it's anyone but Judy strikes me as overcomplicating the issue. Also, it establishes right off the bat in the first two episodes that this is a force which is somehow attracted to sexual energy at specific locations, or specific times, or both. I think this is significant and important in order to understand the finale two episodes, especially the sex/magick scene with Cooper and Diane. One last random note... Is anyone else noting Lynch's love of symmetry, while re-watching? It really does feel like there's something strongly symmetrical about the series as a whole, it can seem like "looping" but it's more like two mirrors placed in front of one another. Which, incidentally, always reminded of what was happening to the glass box when Cooper is in it right before he vanishes in Episode 2. kaworu fucked around with this message at 13:14 on Sep 22, 2017 |
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Sep 22, 2017 13:11
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Hiring a security guard specifically to prevent the guy you hired to watch the cameras from loving on the clock is some serious SCP countermeasures poo poo.
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Sep 22, 2017 13:49
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Another thing I noticed is that the close-up of Cooper looking at the Evolved Arm when the Arm asks him if he remembers his doppelgänger seems to be the same close-up superimposed over the showdown with Booper at the TP Sheriff's Station. As for why Judy eats the lovers, I think she wasn't attracted to them so much as she was after Cooper, missed him, saw the lovers and said, "While I'm here, I think I'll have a snack."
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Sep 22, 2017 13:52
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Hijinks Ensue posted:Another thing I noticed is that the close-up of Cooper looking at the Evolved Arm when the Arm asks him if he remembers his doppelgänger seems to be the same close-up superimposed over the showdown with Booper at the TP Sheriff's Station. I dunno, though. It's very interesting. If "Judy" were after Cooper, wouldn't she have had ample time to destroy him in the Red Room at her leisure? It does almost seem that she IS after him from the very moment he leaves the Red Room - is this because she understands his plan, or more precisely the very important role that he plays in the Giant's plan? Something that I am coming to realize, though: both Cooper and Diane spent the season primarily in "disguises" that manifested as physical deformation and/or mental illness, which paradoxically protects both of them from the dangers surrounding them. Masks, literal or figurative. Much is made of masks and the power of masks in FWWM especially. I'm beginning to realizes that the weird special effects in moments when Sarah and Laura both "open their faces" is meant to be a literal and textual extreme representation of that. Behind Laura's mask is the pure and blinding lightness of love and hope; behind Sarah's mask is dark, spiritually corrupt and powerful malice and hatred, fermented over the years, coiled and waiting to strike. I think the importance is the contrast. When Laura was alive, she wore many masks, but most of all she tried to become exactly what the people around her wanted her to be. She would turn on a dime in FWWM; one moment she'd be acting the best friend for Donna, and Bobby shows up all pissed off, and Laura tries to lightly play him off but it doesn't work. Then you can see her face and entire demeanor change as she turns on the charm... and I'll be damned but it is just AMAZING how chameleon-like she is in that film. She can truly go from looking like the 100% wholesome girl-next-door to... well, someone else entirely on a dime. I feel like her character retains this mystery in Season 3... It's a big part of what makes that final episode so incredibly chilling, and haunting. There's a je ne sais quoi about Sheryl Lee as Laura Palmer that is haunting and entirely mysterious. The fact that she remains so haunting and mysterious is one of the true victories of season 3, in my opinion..
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Sep 22, 2017 14:22
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It's Sex Magic all the way down.
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Sep 22, 2017 14:36
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The curtains are red like blood, the donuts are loaded with sugar, and there's sex magic, this is all just David Lynch's tribute to the Red Hot Chili Peppers.
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Sep 22, 2017 14:41
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Excuse me that's "magick" not "magic". We're talkin' bout Alestier Crowley and Jack Parsons kinda poo poo. And I wish we didn't have to go down this road but I wasn't the one who made Diane look like a dead ringer for The Scarlet Woman in Anger's Pleasure Dome. That's pretty goddamn direct, especially considering how much Lynch (rightfully) loves and respects Anger's films and (probably) cites him as one of his most absolute influential directors. I mean, like, not to knock Lynch because he definitely refined a lot of Anger's ideas and placed a lot of his own experimental/symbolic imagery in the context of a more conventional narrative, particularly in his breakthrough film (Eraserhead obviously). But still, it's pretty significant that Anger was making incredible work in the freaking 1940s and '50s that was insanely ahead of its time. It is not unreasonable to call him the father of both independent cinema and gay cinema in America. But it's unfair to limit his significance to just one country, given that Truffaut and Godard probably wouldn't have made the films they did if it weren't for Kenneth Anger, who was friends with both of them. The thing about Anger is that, when I finally sat down and watched some of his work (which is admittedly something I would recommend to people who are already used to experimental films) I found myself extremely engaged, and also... Really, really disconcerted. That's the biggest thing that Lynch picked up from Anger's films, if you ask me - this ability to truly unnerve the viewer in one manner or another. Anger was a part of that whole crazy loving occultist scene in LA back then, too. God knows the kinda scary poo poo someone like him has actually seen in his life over the last 70+ years. He's like 90 now and still very much alive and lucid.
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Sep 22, 2017 15:17
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kaworu posted:Kenneth Anger I'm extremely disappointed in myself for not knowing more about his films before now.
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Sep 22, 2017 15:24
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And More posted:By the way, I've found Billy. That's him Holy poo poo dude, you loving figured it out. Hey everyone this guy found Billy, seriously. The other cop really does call him Billy.
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Sep 22, 2017 15:49
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But that Billy is in South Dakota, which also has another Billy in Bill(y) Hastings.
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Sep 22, 2017 16:05
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Unless I missed something, I don't think we've seen Judy at all besides episode eight. It seems like all the other female spirits we've seen were birthed from her like Bob was. This is part of why I'm frustrated that the show didn't have an ending. I would have liked to know the full story of Sarah's frogroach and why it never manifested itself during seasons one and two. What happened to Sarah after the bar scene? How many people has she killed?
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Sep 22, 2017 20:25
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...! posted:Unless I missed something, I don't think we've seen Judy at all besides episode eight. It seems like all the other female spirits we've seen were birthed from her like Bob was. This is part of why I'm frustrated that the show didn't have an ending. I would have liked to know the full story of Sarah's frogroach and why it never manifested itself during seasons one and two. What happened to Sarah after the bar scene? How many people has she killed?
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Sep 22, 2017 22:43
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sarah has hella visions in s1 and 2
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Sep 22, 2017 22:57
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...! posted:Unless I missed something, I don't think we've seen Judy at all besides episode eight. It seems like all the other female spirits we've seen were birthed from her like Bob was. This is part of why I'm frustrated that the show didn't have an ending. I would have liked to know the full story of Sarah's frogroach and why it never manifested itself during seasons one and two. What happened to Sarah after the bar scene? How many people has she killed? https://www.youtube.com/watch?v=2eHrLZ1Il00&t=32s https://www.youtube.com/watch?v=GmOg1G2rId0 I can't find the clip online but she also saw the horse in FWWM before Laura was murdered. There's pretty strong evidence that Judy is represented by the horse. The horse is even behind the curtain in S3E02 when Laura disappears.
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Sep 22, 2017 23:08
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Volte posted:I'm not sure it's fair to say it never manifested itself. Sarah has always been more connected to the Black Lodge than any of the other characters. Is she, though? I always saw it as the tradition of death being preceded by the sight of a pale horse. That wouldn't have anything to do with Judy.
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Sep 22, 2017 23:44
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I've never really thought about it, but who is supposed to be speaking through Sarah in that first clip? Earle?
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Sep 22, 2017 23:51
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...! posted:I would have liked to know the full story of Sarah's frogroach and why it never manifested itself during seasons one and two. It was sleeping. ...! posted:What happened to Sarah after the bar scene? She went home and fell asleep. ...! posted:How many people has she killed? Five.
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Sep 22, 2017 23:56
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Origami Dali posted:I've never really thought about it, but who is supposed to be speaking through Sarah in that first clip? Earle? Having watched that episode just yesterday, the subtitles (at least on Netflix) say it's his voice, yes.
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Sep 23, 2017 00:32
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i wonder if leland/bob was not only drugging sarah but also drugging judy. All while feeding her primo ambrosia
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Sep 23, 2017 00:38
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...! posted:Is she, though? I always saw it as the tradition of death being preceded by the sight of a pale horse. That wouldn't have anything to do with Judy. If you only look at the episodes Lynch directed from the original run, there's a lot of direct continuity of imagery which indicates he at least had some idea where he was going with his visual language, even if the other directors weren't privy. s2e07 has an ominous shot of the fan in the Palmer house as Sarah is crawling down the stairs, just before she sees the horse. In FWWM, there's a shot of Leland walking into the hallway, looking at the (turned off) fan, flipping the switch to turn it on, and immediately afterwards, the horse appears to Sarah in her bed. In s3e12 there's another shot of the fan spinning as Hawk is walking up the house, followed by a scene that strongly implies there's something in the house with Sarah. I was just watching the very first red room scene in s1e02 and noticed that as soon as Old Cooper appears in the red room, he sees the Arm with his back turned, vibrating, and there is a (very quiet at first) repeated slowed-down clip of Sarah yelling "Laura" almost identical to what Carrie hears in the season 3 finale (and also when Cole opens the door and sees Laura), then a clip of Sarah running down the stairs with the fan spinning above her that cuts to Bob and Laura's body accompanied by flashes and the sounds of electricity, all of which seems a lot more significant in retrospect. Volte fucked around with this message at 01:37 on Sep 23, 2017 |
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Sep 23, 2017 01:22
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The credits of episode 8 also roll on darkened hills in a southwestern desert to the distant sound of horses whinnying, immediately after the Woodsman's poem and the frogroach possession. The horse seems as linked to malevolence as the owls are.
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Sep 23, 2017 02:38
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sorry wait what are we talking about? i was busy watching this.
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Sep 23, 2017 03:03
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Volte posted:White horse imagery is used in the alternate universe of Ep18, particularly outside of the diner called "Judy's" and inside Carrie's house, plus, as I mentioned, behind the curtain in Coop's red room vision(?) in Episode 2. I think it's more than just a harbinger of death. Huh, I'm going to have to go back and rewatch those. I'm in the middle of a rewatch now and I don't recall hearing Sarah in the Red Room, among other things. As a side note: I watch a lot of horror movies of all types (especially slashers), so I've seen pretty much the full gamut of death scenes, including a ton of brutal, violent, and gory ones. But the only death scene that has ever completely creeped me out and given me the chills is Maddy's. Everything about it is perfect: Frost's writing Lynch's directing The spot-on acting from everyone involved, especially Ray and Sheryl (Ray's grin is loving terrifying) The noise from the skipping record player Sarah crawling down the stairs, seeing the horse, then lying unconscious for the rest of the scene The constant swapping of Leland and BOB Julee's singing The Fireman's warning to Gooper Donna's sudden breakdown The whole thing is just visceral in a way that I've never seen replicated. It's absolutely perfect, one of those things where the whole is more than the sum of its parts. I've seen it ten to twelve times now and I still tense up when it starts.
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Sep 23, 2017 03:19
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Judy is a both metaphorical and literal manifestation of the violence descending from Sarah's knowledge of Leland/Laura in the same way that Bob is a both literal and metaphorical manifestation of sexual abuse and all the cycles implicit right? Sarah created Judy the same way Leland's past abuse created Bob but they also existed before that and outside of that because It's all self beggeting. Linear time not mattering and all Sounds good to me. I'm glad I solved it, hell
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Sep 23, 2017 03:49
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man. everyone should go back and watch episode 2 of season 2 again. specifically the second scene, with donna. but then keep going because jerry has a smoked cheese pig and the conversation between cooper and briggs and also the loving SONG god i love this show. Dr. Fishopolis fucked around with this message at 04:38 on Sep 23, 2017 |
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Sep 23, 2017 04:11
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so hey remember that time that donna invaded an agoraphobic man's home and drove him to suicide and in the very same episode was like "welp there's no way this could possibly be my fault" and never talked about it again?
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Sep 23, 2017 08:30
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I got up to episode 14, I had forgotten the Fireman gives Andy an odd little box that makes smokes before he starts seeing things on the ceiling. This is also the episode we finally see Phillip Jefferies, and when Booper walks into the parking lot of the motel there's two Woodsmen standing there and the left one also appears to be emanating smoke. It seems telling that should be such a prominent motif for a single episode, it seems like the smoke is a portent of revelation. I think somebody else mentioned this, but there's an odd puddle in the motel parking lot too. Directly below the right Woodsman as Booper enters the parking lot is a pudding reflecting a red light, but there's no red light on the screen, and other puddles in the scene reflect light sources we can see as the viewer. The red light looks an awful lot like the reflection of the Bang Bang Bar sign that's sometimes show in a puddle. Not sure exactly what that could imply, or if I'm reading into nothing.
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Sep 23, 2017 08:33
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Sanschel posted:The credits of episode 8 also roll on darkened hills in a southwestern desert to the distant sound of horses whinnying, immediately after the Woodsman's poem and the frogroach possession. The horse seems as linked to malevolence as the owls are. Let's not forget the most important horse scene: https://www.youtube.com/watch?v=vuhnCScR1TI Cromulent posted:But that Billy is in South Dakota, which also has another Billy in Bill(y) Hastings. There is even a third Bill who is only in one scene with Gordon: "Paul is now in the North Pole." "Well, there you go." "Please, have a seat." "Thank you, Bill." The driver of Carl's van is also called Bill, but he's ancient. And there is Bill Shaker in Las Vegas, the guy who tells Dougie where he lives. And More fucked around with this message at 11:06 on Sep 23, 2017 |
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Sep 23, 2017 10:25
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Cooper finally came face to face with Judi: https://www.youtube.com/watch?v=CoSDHREgDnU
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Sep 23, 2017 13:21
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Dr. Fishopolis posted:so hey remember that time that donna invaded an agoraphobic man's home and drove him to suicide and in the very same episode was like "welp there's no way this could possibly be my fault" and never talked about it again?
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Sep 23, 2017 14:45
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Re-watched the second hour of S3 and drat that Woodsman is creepy (the one in the jail with Shaggy). His body fades out entirely but his head is still sort of there and floats away. The Woodsmen give me the willies. There's something really unsettling about them.
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Sep 23, 2017 15:33
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