Welcome to Twin Peaks, population 51,201

[TheGSMoeller]

It definitely isn't a nostalgia trip. Nor is it indulging in fan service. It's just getting shit done, Lynch style.

This needs to be quoted on the blu Ray box when it gets released. 

[Rinaldo]

I'm all for screwing with the fans, even if I count myself as one. The pilot had me worried because it seemed like an incoherent excercise with way too much Black Lodge sprinkled on top.

But I'm starting to see the big picture (or am I?) and I like what I see. The space-lodge or whatever it was, man, that imagery really stuck with me. And Bobby's return.. wow. No extra words needed. The imagination immediately fills in the blanks. Can't wait for Audrey to show up.

[TheGSMoeller]

Just read that something changes in the opening credits for every episode. Anyone notice? 

[Cato]

Here is an essay on Twin Peaks, old and new:

https://www.pastemagazine.com/articles/2017/05/david-lynch-is-not-an-auteur-on-the-enduring-brill.html

An excerpt:

...When you place two mirrors facing one another, an object between them will appear in an infinitely receding cascade of reflections, a phenomenon sometimes called an Infinity Mirror or Toricelli's Trumpet. It's the closest thing I can come up with to explain what Twin Peaks did...

What makes Lynch something other than an auteur is probably expressed more clearly in Twin Peaks than in anything else he's ever made, and it's all about those disturbed reflections. Lynch knows that everyone experiences a given work of art differently. No two people have precisely the same takeaway from a story, no matter how blisteringly powerful the vision of the visionary at the helm. Instead of attempting to force a consensus analysis onto his audience, Lynch has mastered a kind of radical open-endedness and curiosity that embraces the dissonant and highly personal interpretations of each viewer who comes to his work. His work can be absurdist, dramatic, scary, romantic—often in quick succession—but I cannot think of another director who can touch Lynch for that substrate of almost gleeful curiosity about the breadth of different things people will extract from his work. Twin Peaks wasn't an auteur's tour de force. It was Toricelli's trumpet. Every person placed between those mirrors saw a different reflection, and it was partly informed by what Lynch put onscreen and partly by what viewers brought with them.

[Sergeant Rock]

Twin Peaks parody, SNL, 1990. I like the Audrey 

https://www.youtube.com/v/gTjJcrDoxzw


Sarge

[TheGSMoeller]

Badalamenti on the creation of Laura Palmer's theme...

https://www.youtube.com/watch?v=rgXLEM8MhJo

[TheGSMoeller]

Loved episode 5. And this scene.

[Sergeant Rock]

Loved episode 5. And this scene.

Fantastic use of the oldie from the Paris Sisters. But the scene made me nervous. I was expecting something violent to happen. Now that I know better, I can re-watch with less anxiety 

Sarge

[Rinaldo]

Can't say I'm a fan of how the different characters, old & new, are introduced and then.. nothing, wait for the next episode or maybe the episode after that or whatever. This kind of fragmentation does nothing for me, so 5 was a letdown, as not much has happened, no progress whatsoever. Bad Coop's phone call was ace, though.

[Sergeant Rock]

as not much has happened, no progress whatsoever.

We did find out the purpose of Jacoby's golden shovels...that's some progress 

Sarge

[Crudblud]

I think the release schedule has some problems. Since it was essentially written and shot as one long thing, the episodic format can feel odd, but I'm certainly excited to see where this is all going.

P.S.: Dr. Amp is amazing.

[Sergeant Rock]

Just watched episode 6. "Fuck Gene Kelly" 


Sarge

[TheGSMoeller]

[Sergeant Rock]

Diane!!!

[Rinaldo]

And here I thought Albert was looking for Audrey. Well played, well played indeed.

That said, this guy echoes my feelings about the show so far:

We're a third of the way into the new series now, and for whatever comic joys Dougie's storylines brought us in this episode alone—Naomi Watts chewing out Jeremy Davies (still in Justified scumbag mode); Dougie becoming an accidental, Being There-esque savant with his case file doodles; his fascination with the Clapper—we've spent a disproportionate amount of time watching him dawdle around like Harrison Ford in Regarding Henry. That, plus the attendant, slow police investigation into his car bombing while junkie mom rants "1-1-9!" across the street, still feels like padding to me. (It's enough to make me wonder whether Lynch and Frost responded to Showtime tacking another 10 episodes on to its original order by saying, "Let's just double the Dougie stuff.") Meanwhile, the focus on Las Vegas takes up so much narrative room that everything else ends up feeling too rushed, to the point where all the other minor plot threads that have been—and continue to be—introduced seem even more like disconnected vignettes, making them easier to forget about. (Hey, remember Matthew Lillard? I wonder what he's been up to since we last saw him, five weeks ago.) That's the balance I would like to see restored.

That said, I still have every reason to believe these disparate threads are all destined to converge—though still perhaps elliptically, and not necessarily in a way that will justify how much time we've spent in Vegas, specifically. And even throughout my frustration with the pacing, I'm still delighted by how this series continues to upend all of my expectations from moment to moment. My greatest fear for the revival was that it would suck all the mystery out of the show by trying to recreate its peculiarities with too much self-awareness; that it would be Twin Peaks: The Force Awakens: enjoyable enough, but too stifled by its own need to nostalgically pander; that I would be bored. The fact that I'm sitting here with you guys, debating whether Cooper being a catatonic goofball named "Dougie" who's unwittingly mixed up with mobsters and being hunted by icepick-wielding hitmen is detracting too much from storylines about a headless corpse tagged with Major Briggs' fingerprints or a mysterious black box in Buenos Aires, or, or, or... Well, it's safe to say I never could have imagined this is what Twin Peaks 2017 would look like, and every week I can't wait to watch the next episode.

http://www.avclub.com/live/v-club-dale-cooper-you-have-wake-256659/entry/1154

[TheGSMoeller]

Well episode 7:


Holy fuck!!!!! 

I love the Girl From Ipanema reference on the plane. 

[Sergeant Rock]

Love this scene:

Gordon: You got any coffee?
Diane (smoking and drinking coffee): No...I don't have any cigarettes either.
Gordon: Ah...the memory of tobacco. But I gave it up.
Diane: Fuck you, Gordon
Albert (to Gordon): Now you're getting the personal treatment.
Diane: Oh, you want personal? Fuck you, too, Albert.
Gordon: Now that we got the pleasantries out of the way...


Sarge

[Sergeant Rock]

I love the Girl From Ipanema reference on the plane. 

Cracked me up 

Sarge

[Rinaldo]

Ninja Dougie!

[Crudblud]

Fuck you Albert!......Fuck you Gordon!.....Fuck you Tammy!.....Fuck you Cooper?

Diane is hilarious. Tammy getting shot down in that scene is one of the funniest moments in the entire series so far for me. As for Cooper, it seems pretty clear that the doppelganger did something horrible to Diane after he left Twin Peaks, but she knows they're two different people, so who knows what that reunion will be like?