|
https://twitter.com/Kyle_MacLachlan/status/1250052753642139650 Kyle's drat good
|
#
?
Apr 14, 2020 17:32
|
|
|
|
| # ? May 29, 2024 22:51 |
|
|
https://www.youtube.com/watch?v=q7hlDrLgKHQ Hi guys! I just wanted to share this video from a cool channel I like on youtube. She does some pretty darn interesting analyses of Lynch's stuff (as well as other things) and though I may not agree 100% with everything she says, I always find her stuff very intriguing and entertaining to watch. It's a cut above your average "what's this crazy poo poo mean anyway?" Lynch video on youtube, in part because she's not interesting in finding definitive answers or staid explanations for what is literally happening - there's a staggering number of vids like that, it seems, that miss at least half of the point. In this series, she looks at 9 of Lynch's feature films - She starts with Eraserhead (this is the only one done so far) and then Blue Velvet, Lost Highway, Mulholland Drive, Inland Empire, and Twin Peaks gets 3 entries: first two seasons, FWWM, and The Return. Oh, and Dumbland! The youtube descriptions might make it sound a bit, er... "woke"-ish? Not that this is bad, per se. She is looking at the films through the lens of postmodernism and feminist theory, and frankly... Well, the truth is that both are really important aspects in his work, you know? And I think there is a lot of raw material to mine in Lynch's work when viewed through that lens. Lynch is also interesting because I always felt that he was sort of... making and remaking or re-imagining the "same film" when it came down to a number of themes and motifs and plot similarities. FWWM, Lost Highway, Mulholland Drive, Inland Empire, Twin Peaks: The Return... Those five films are (IMO) all kinda linked/intertwined with one another in all KINDS of ways. And I think after episode 8, it's sort of impossible to deny that Twin Peaks has been and will always be a totally post-modern show in its DNA. It's sort of funny - before I watched this video I did not know the precisely what "post-modernism" was, even though I've used the word (correctly) many times I had never specifically looked it up, and hearing it strictly defined it's almost shocking how much it fits Twin Peaks' MO to a T. I've probably ranted uh way too much.. well, give it a shot and see what you think, if you don't like the person's voice or the ideas its not like you HAVE to watch it... I just think some people here might appreciate it. kaworu fucked around with this message at 23:11 on Apr 15, 2020 |
|
#
?
Apr 15, 2020 23:05
|
|
|
Episode 12: Let's Rock 
|
|
#
?
Apr 19, 2020 04:58
|
|
|
Ignore the strange man 
|
|
#
?
Apr 19, 2020 05:02
|
|
|
|
|
#
?
Apr 19, 2020 05:09
|
|
|
Sarah Palmer freaking the gently caress out at the grocery store
|
|
#
?
Apr 19, 2020 05:10
|
|
|
Rageaholic posted:Sarah Palmer freaking the gently caress out at the grocery store Those teenagers crack me up.
|
|
#
?
Apr 19, 2020 05:12
|
|
|
"It's a goddamn bad story, isn't it Hawk?"
|
|
#
?
Apr 19, 2020 05:16
|
|
|
lmao, I love how David Lynch just had to insert this scene of him hanging out with a hot French girl. e: This extended scene e2: Albert is having NONE of Gordon's poo poo hahaha Rageaholic fucked around with this message at 05:30 on Apr 19, 2020 |
|
#
?
Apr 19, 2020 05:27
|
|
|
She'll turnip eventually!
|
|
#
?
Apr 19, 2020 05:30
|
|
|
*murders warden in front of his kid* NEXT STOP WENDY'S! e: Oh poo poo, it's the first time Audrey shows up in season 3! Rageaholic fucked around with this message at 05:37 on Apr 19, 2020 |
|
#
?
Apr 19, 2020 05:34
|
|
|
Ayy there's Audrey!Rageaholic posted:*murders warden in front of his kid* I love that pair so much 
|
|
#
?
Apr 19, 2020 05:37
|
|
|
So are Billy and Tina and Paul staff at the mental facility Audrey's in?
|
|
#
?
Apr 19, 2020 05:40
|
|
|
Still blows me away that the season is so packed that it always catches me by surprise when I realize Audrey hasn't shown up until this point. The Sarah Palmer scenes just fill me with so much dread, and somehow it's that sound of rattling pans(?) in the background of her supposedly empty house that REALLY gently caress with my head. The supermarket freakout, as eerie as it is, feels more grounded in reality, perhaps because I've seen that type of thing happen before in a retail setting. A really lovely moment I dug in this episode was Ben's pained but sadly not surprised expression and the moment he took to gather himself when Frank tells him that Richard killed the little kid. You can see he's deeply disappointed and saddened by it, but also that he's probably been waiting to be told this type of thing for a long time now.
|
|
#
?
Apr 19, 2020 10:17
|
|
|
I still remember the feeling of "holy poo poo it's Audrey" shortly followed by "what the gently caress is this scene"  We were talking about Twin Peaks actors appearing elsewhere a few days ago. I'm making my way through Star Trek TNG and guess what:  it's only Ray Wise as a bronze age Vulcan, innit, very slightly pre-Twin Peaks. (in an episode that also features a character named Palmer and old Ray himself almost becomes a murderer because he believes he's contacted a higher power)
|
|
#
?
Apr 19, 2020 10:30
|
|
|
David Lynch did an interview with Hollywood Reporter today, and it's one of the loveliest news stories I've come across in a while  I promise only a small portion plugs TM and I will mark it as such.https://www.hollywoodreporter.com/news/how-im-living-now-david-lynch-director-1290834 quote:The auteur has been productive in quarantine, working on various art projects for what he anticipates will be the long haul: “I don’t really think I can make a film until there’s a vaccine.” Awww, I love how he is optimistic about all of this! Especially because Twin Peak: The Return feels like such a pessimistic take on the current state of things - not that I disagreed, really. I find it great news that he feels good may come of this all, because I do value his opinion. All in all, I just thought this was an especially good and amusing interview, more than worth posting. I love that whenever I read a Lynch interview, my brain translates his words in the form of Gordon Cole's voice shouting inside my skull. It's always quite fun. kaworu fucked around with this message at 23:35 on Apr 20, 2020 |
|
#
?
Apr 20, 2020 23:33
|
|
|
he is just a really cool dude
|
|
#
?
Apr 20, 2020 23:43
|
|
|
kaworu posted:David Lynch did an interview with Hollywood Reporter today, and it's one of the loveliest news stories I've come across in a while 
|
|
#
?
Apr 20, 2020 23:47
|
|
|
I do prefer to see films with visual and sound at the maximum good.
|
|
#
?
Apr 21, 2020 01:22
|
|
|
David Lynch posted:Twin Peaks: The Return, it’s gold. I hereby declare the Resurrection of the Author, because his take is clearly the correct one 
|
|
#
?
Apr 21, 2020 02:52
|
|
|
Twin Peaks was always cool.
|
|
#
?
Apr 21, 2020 06:42
|
|
|
That interview was really nice. Twin Peaks: The Return is indeed gold.
|
|
#
?
Apr 21, 2020 12:33
|
|
|
Thanks guys, I am very glad you all liked it as much as I did  So guys, tonight we are watching Episode 13: WHAT STORY IS THAT, CHARLIE? Is that the story of the little girl who lived down the lane? Is it?! I'm on the west coast now and a little detached from God's Own Time Zone, I just am usually cooking and/or eating dinner at 9PM most nights and it just doesn't work for me quite so well as midnight on the east coast; ah well. I do love this episode though, so I'm just gonna say my piece.... It's not a monumental episode, but it's actually got several of my absolute favorite scenes and moments. I find Audrey's scene absolutely fascinating in this episode, partially because it's still very mysterious and hard to deconstruct or dissect. The line I quoted was and/or will be repeated by The Arm, and it's hard to deny that it holds a GREAT deal of significance. As best I can figure... "The story of the little girl who lived down the lane" refers, literally, to Twin Peaks -well, specifically, Laura Palmer's story in Twin Peaks and perhaps more significantly FWWM. And I think... The question, asking whether or not IT IS the story of the little girl who lived down the lane - that refers to what Cooper did. After he makes the change, Twin Peaks ceases to be the story of the girl down the lane. Audrey seems DEEPLY distraught and upset when she asks this question of Charlie, and pay close attention to how he answers.. "Do I have to end your story too?" Now, this is fascinating to me, because the implied answer is that it is NOT the story of the girl who lived down the lane - it WAS, and now it isn't. This is why Charlie answers the way he does; within his answer it is implied that the ''Story of the little girl who lived down the lane" was once a thing that existed, but has now been somehow ended or stopped - Charlie seems to imply that he might be able to do something similar to what Cooper did? Charlie must be somehow associated with the lodge, based on that dialogue. edit: sorry I hit the post button by accident, me and my sloppy/clumsy typing, plus little chiclet laptop keyboards suck and my hands are too big and my fingers too long. kaworu fucked around with this message at 18:49 on Apr 26, 2020 |
|
#
?
Apr 26, 2020 03:56
|
|
|
Aww yeah, the arm wrestling scene  "What is this, kindergarten?" Rageaholic fucked around with this message at 05:10 on Apr 26, 2020 |
|
#
?
Apr 26, 2020 05:07
|
|
|
The big TV e: Starting positions. 
El Jeffe fucked around with this message at 05:16 on Apr 26, 2020 |
|
#
?
Apr 26, 2020 05:07
|
|
|
"That bad, huh?" 
|
|
#
?
Apr 26, 2020 05:33
|
|
|
"I feel like I'm somewhere else and like I'm somebody else." Oh Audrey  e: "It's like Ghostwood here." Also oh god, this is the one where James plays Just You & I at the Roadhouse lmao Rageaholic fucked around with this message at 05:53 on Apr 26, 2020 |
|
#
?
Apr 26, 2020 05:50
|
|
|
"It's like Ghostwood here."  Hahaha I'd forgotten about the James concert
|
|
#
?
Apr 26, 2020 05:53
|
|
|
El Jeffe posted:Hahaha I'd forgotten about the James concert
|
|
#
?
Apr 26, 2020 05:56
|
|
|
Big Ed's reflection still eating even though he set the cup down  spooky
|
|
#
?
Apr 26, 2020 06:05
|
|
|
El Jeffe posted:Big Ed's reflection still eating even though he set the cup down When the episode first aired, that filled me with such a terrible sense of dread. I was convinced that the whole cast of "Twin Peaks" was gonna end up being part of the Black Lodge storyline, something bad was gonna happen to Ed; etc. I'm glad it didn't go that way.
|
|
#
?
Apr 26, 2020 11:49
|
|
|
There's just something so deeply depressing about Big Ed eating alone in his little gas farm in the middle of the night as cars whiz by outside  I love how wildly different the Charlie/Audrey scene in this episode is to the last one. The dynamic has completely flipped and he's not just firmly in control (as opposed to beleaguered in the previous episode), there feels like an active menace coming off of him. Audrey is so unanchored, you can sense the desperation emanating off of her like waves and it is really something given not only how different it was to her performance in the last episode but also of course when you consider just how massively confident and self-assured she was in seasons 1 & 2. On a brighter note, as much as I enjoyed the Mr. C scenes after his recent absence, there's something so wholesomely hilarious about Sinclair being continually astounded by how much Dougie "knows", and Bushnell's continual references to how active Dougie has been in uncovering everything
|
|
#
?
Apr 26, 2020 15:56
|
|
|
That fuckin casino music when the Mitchums/girls/Dougie are dancing through the office, god drat it just defies description Also I love that they just give Bushnell diamonds and cars as a thank-you, every "avoid even the appearance of conflict of interest or quid pro quo, anything beyond a $100 gift card is not permissible" corporate training video maker is banging their head against the table Data Graham fucked around with this message at 16:01 on Apr 26, 2020 |
|
#
?
Apr 26, 2020 15:59
|
|
|
Quote(s) of the week(s) "You're not gonna tell me what he said?!" (Audrey) "Charlie help me. It's like Ghostwood here." (Audrey) Sarah Palmer's scenes this season are hard to watch. In season two, it still seemed like people were there for her. Now it's only Hawk who still feebly tries to help. She's got no one left. Really, I can't even imagine how it would feel to have your life robbed of meaning so suddenly and conclusively. One really interesting aspect of Bushnell and Dougie interrogating Anthony is that it has a lot in common with the interrogation of Ernie Niles by Denise and Cooper back in season two. Both involve a really weepy witness who is forced to do the right thing despite his own cowardice. Bushnell's "I'm not asking" reminds me of Denise's glee at putting Ernie through the wringer. Anthony even seems to rephrase what Gordon said about Denise earlier in the season : "Fix your hearts or die", and "I want to change or die". The scene with Norma and that sales guy is fairly unremarkable in the grander scheme of things. I do really like that the show somehow still manages to squeeze in a little nod to how Twin Peaks is facing "uphill challenges economically". It's not just Norma who is in financial trouble. During the Nadine and Jacoby scene, the subtitles pick up something kind of hard to notice. Right at the end, the train horn sounds. I'm like 90% it's the same sound as earlier in the season. A mournful tune for two very lonely people. Audrey's first scene is, even on rewatch, pretty tough to sit through in a bad way. It's just interminable. Her second scene is so creepy, though. Charlie threatening to end Audrey's story, and her breaking into tears as she says "It's like Ghostwood here" is remarkably unsettling. egon_beeblebrox posted:When the episode first aired, that filled me with such a terrible sense of dread. I was convinced that the whole cast of "Twin Peaks" was gonna end up being part of the Black Lodge storyline, something bad was gonna happen to Ed; etc. I'm glad it didn't go that way. To be honest, I'm not convinced the entire show doesn't take place in the black lodge to some extent. It's kind of a crackpot theory, but I feel like most of the show creates a strange disconnect between places. There is a weird reliance on repeating confined spaces. You rarely see people leave buildings or go from one room to the next. If the walls of Ben Horne's office suddenly lifted away, I wouldn't be surprised at all. It somehow feels disconnected from the location of the hotel, in a way. Gotta love that James still has the classic setup with two women simultaneously singing "Just you and I" with him. I guess he's somehow amplified the absurdity of the situation by clearly singing the song for a third woman. kaworu posted:https://www.youtube.com/watch?v=q7hlDrLgKHQ The video essay is pretty good, so far. I like the approach, and it seems like a good introduction to postmodern theory. In particular, I'm curious about the aspects of race and satire that she hints at, but doesn't really go into at this stage. Those aspects are not explored as often when it comes to Lynch, so I'm curious which movie she'll choose for each one, and what her argument will look like. Something I find kind of troublesome is how much the essayist relies on Lynch's biography as evidence for her thesis, both in the introductory video and the Eraserhead one. As the video essayist correctly points out, postmodernism is a movement that essentially rejects the concept of truth, redefining it as a type of narrative. However, one such narrative is the concept of the author. Claims such as: "This all matters because Lynch was there for all of it. As a child of the 1950s, he lived out the Norman Rockwell painting in real time. But as many kids of his ilk realised, there is something phony and suspicious about it." basically insinuate an identity of art and artist. She not only points out the biographical parallels between Eraserhead's protagonist and Lynch's own poverty as a young father studying in Philadelphia, she even goes so far as to claim that this is what the film is "about". In that context, biographical data is infallible. If you understand the artist, you understand the art. Almost by default, this approach goes against postmodernism. Michel Foucault, for example, would consider the role of author a position of power. If you take up authorship, you essentially take control and ownership over the art you produce. In doing so, you control what can be said about your art because there is always a "correct" narrative that the author has access to. A lot of poststructuralist philosophy, to which I also count the famous Death of the Author essay by Roland Barthes, therefore does away with this control of the author. It is contradictory to seek truth in the author's interviews, if you want to be a postmodern critic/scholar. If anything, you should consider the semi-autobiographical films and books Lynch has participated in a type of fiction written by Lynch to control your perception of his art. Lynch is a good storyteller, and I don't think you're gonna get anything out of him that hasn't already been turned into a fun story to some extent. It's highly probable, imo, that he makes himself appear like one of his protagonists on purpose. After all, a lot of people (me included) have a tendency to read his interviews in Gordon Cole's voice. And More fucked around with this message at 08:59 on May 21, 2020 |
|
#
?
Apr 26, 2020 21:02
|
|
|
Data Graham posted:That fuckin casino music when the Mitchums/girls/Dougie are dancing through the office, god drat it just defies description  
|
|
#
?
Apr 26, 2020 22:21
|
|
|
And More posted:Sarah Palmer's scenes this season are hard to watch. In season two, it still seemed like people were there for her. Now it's only Hawk who still feebly tries to help. She's got no one left. Really, I can't even imagine how it would feel to have your life robbed of meaning so suddenly and conclusively. Twin Peaks: Fire Walk With Me is the movie that plays in Sarah Palmer's head every night before she goes to sleep
|
|
#
?
Apr 26, 2020 23:20
|
|
|
Just rewatched Blue Velvet last night, so good. Still one of my favorite movies. Random note, this is the first time I noticed Jeffrey has an earring. Pretty cool. I've even seen BV on the big screen once, this time watched the Criterion version. Also, not too notable or anything, but the original stereo track sounds really good. This may be the first time I've heard it, since the DVD had 5.1. Somehow the dialogue having less bass on it makes it sound a little better to me or something. And hats off to every performer in this film. The love letter scene is way too good. And Dean Stockwell really earned the "And Dean Stockwell" in the opening credits. Heavy Metal fucked around with this message at 01:11 on Apr 30, 2020 |
|
#
?
Apr 30, 2020 01:09
|
|
|
There's something about the way he is just kind of "there" with his women and just looks up and calmly notes,"Oh. Frank's here." when he hears the car outside that really stuck with me . Maybe it's the fact Frank is such a terrifying force and yet this guy just seems completely relaxed around him, like he's just some mild curiosity in Ben's wider and somehow more interesting life. Apparently Stockwell based Ben on Carol Burnett which is quite frankly amazing.
|
|
#
?
Apr 30, 2020 02:57
|
|
|
That's awesome. For sure, gotta be Dean's best character. As a Stockwell fan I mostly see him in one off episodes of Miami Vice and stuff like that. I've been meaning to see Married to the Mob and whatnot.
|
|
#
?
Apr 30, 2020 06:44
|
|
|
|
| # ? May 29, 2024 22:51 |
|
|
Time for Part 14: We Are Like The Dreamer
|
|
#
?
May 3, 2020 04:59
|
|