/tpg/ - Twin Peaks General

We are like the dreamer who dreams and then lives in the dream Edition

picosong.com/wsrgs/

VOTE: strawpoll.me/13870391

pastebin.com/mcKYsFib

Meanwhile:

Other urls found in this thread:

en.wikipedia.org/wiki/Surveillance_(2008_film)
youtube.com/watch?v=sJLQfOQbtyE
twitter.com/NSFWRedditVideo

>no set design, feels empty and lifeless
>no interesting ideas for storylines and generally bad writing
>relies on gimmicks only instead
>those are unoriginal or just bad, unfortunately ("fuck you, albert", glove, andy and lucy, coordinates, riddles, ...)
>bad acting (Bell, Lynch, Horse, Robertson, Dern, ...)
>dull characters (one-dimensional at best)
>storylines and characters are introduced for no purpose
>everything is supposed to weirdly connect and make sense
>shot in digital in a way that doesn't compensate for the technology's disadvantages (looks bad)
>roadhouse scenes (out of place, badly shot, the songs, the bands, the extras, ...)
>student-tier storytelling/editing (characters are shown walking up complete sets of stairs)
>stretched out needlessly, long takes have no particular effect
>obviously delusional and/or inexperienced fanbase perceiving it as particularly meaningful, complex or "deep"
>can't compare to the original series that doesn't have those problems (coherent/complex and beautiful sets, costumes and make-up/well shot/well acted/well written/magnificent multi-dimensional characters and character relations, music, storylines and gimmicks/creates a unique athmosphere as a result, changing the world of television forever whereas "the return" neither manages to do something established really good nor to invent something new)
>extended pitch black scenes because of a lack of a competent cinematographer
>audio issues with microphone static left unaddressed because of poor sound design
>extremely poor editing with magically disappearing extras and production staff accidentally walking into frame
>somehow the best thing in tv history

>no set design, feels empty and lifeless
>no interesting ideas for storylines and generally bad writing
>relies on gimmicks only instead
>those are unoriginal or just bad, unfortunately ("fuck you, albert", glove, andy and lucy, coordinates, riddles, ...)
>bad acting (Bell, Lynch, Horse, Robertson, Dern, ...)
>dull characters (one-dimensional at best)
>storylines and characters are introduced for no purpose
>everything is supposed to weirdly connect and make sense
>shot in digital in a way that doesn't compensate for the technology's disadvantages (looks bad)
>roadhouse scenes (out of place, badly shot, the songs, the bands, the extras, ...)
>student-tier storytelling/editing (characters are shown walking up complete sets of stairs)
>stretched out needlessly, long takes have no particular effect
>obviously delusional and/or inexperienced fanbase perceiving it as particularly meaningful, complex or "deep"
>can't compare to the original series that doesn't have those problems (coherent/complex and beautiful sets, costumes and make-up/well shot/well acted/well written/magnificent multi-dimensional characters and character relations, music, storylines and gimmicks/creates a unique athmosphere as a result, changing the world of television forever whereas "the return" neither manages to do something established really good nor to invent something new)
>extended pitch black scenes because of a lack of a competent cinematographer
>audio issues with microphone static left unaddressed because of poor sound design
>extremely poor editing with magically disappearing extras and production staff accidentally walking into frame
>somehow the best thing in tv history

Remember when Sarah is in the store and freaks out over the beef jerky behind the counter, because it wasn't there before or something? Does she exist in both timelines?

friendly reminder that doppelcoop did nothing wrong and Cooper was the real fuck-up the entire time

She freaked out cos she's an old weird lady with a damaged mind.

how the fuck are you so fast? even FRENLO was never this quick

>Part 18 is just the end of evangelion

Judy exists in both timelines, yes. Carrie hearing Sarah calling out for Laura was not a hallucination.

>thread starts off with two filtered posts

wew

Well, he did rape comatose Audrey.

Go to bed, boop. You got shot down by a ditzy secretary who was stumped by mobile telecommunication.

based hawk hater

Its kind of strange how it went off the rails and gave a horrible, depressing, yet possibly optimistic meta ending like end of evangelion did.

Why would Sarah call out to Laura

Does that also explain why she ate a guy's face off?

(((HOWTHEFUCKCANYOUKNOWTHAT)))

Old women are really crazy, user

>still gets a litany of replies every thread

/tpg/ has to be one of the worst threads when it comes to people not ignoring obvious bait

>Is this the story of the little girl who lives down the lane? .. Is it?

What did potatohead mean by this?

She didn't, it was Judy.

f-fucking delet this

You guys think I'm joking about needing to understand transcendental meditatation and Lynch's spiritual views but I am not. This whole thing is not about Judy really it is about spirituality and consciousness.

I think the implication, along with the fact that we get to see the scene of Cooper losing Laura TWO TIMES IN A ROW, is that it's not the first time Cooper and the Giant are trying to change the timeline. Jeffries' scenes changing, along with the recast of Donna might also be the result of "not being exactly the same as before". Judy realizes it and fills Sarah with dread over reality as she remembered it changing.

The mirror to this is Audrey's similar dread to seeing her "story of a girl" altered.

Why would Judy call out to Laura? Why would Judy want to wake her up

Also it's the exact same audio from the pilot, so the idea it's actually Judy in a different reality rather than a memory is kind of a stretch

It's not baid. t. hawk hater

also her tv stuck in a loop similar to what happens to the clocks

The part where the lights went out as she screamed scared me deep down inside.

It's a bit like the very last scene of EoE where Asuka is alive but with subtle differences and they just sit there for ages until he does something weird.

Shit

>You guys think I'm joking about needing to understand transcendental meditatation
Oy vey, for mere $1000 we'll teach you the super secret mantras that will expand your consciousness. Will it be cash or credit?

Transcendental meditation is a scam to open up your body to possession. Lynch will use this to keep living after he dies and control a sizable amount of the population.

>>extremely poor editing with magically disappearing extras and production staff accidentally walking into frame

when did this happen ?

Probably for the same reasons Bob wanted to kill Laura, or take her in, or whatever. Judy is just female Bob after all.

It's a mystical thing. Laura is the prevailing of good over evil, who never really dies, but never really succeeds - which means evil never succeeds, either.

Sarah's crying out for Laura was her absolution just as much as it served to awaken Laura from her state in Judy's nightmare dimension - the lowest conceivable point in the Twin Peaks mythology. Bringing the two together shorted them out, neutralizing them. It is implied this goes on forever and ever.

I was just thinking about the scene where bad coop goes to the theatre and is sent to the Sheriff's station.

The movie screen starts off on an image of the Palmer house. As if the Fireman has been watching or using that location (or that's where Bob was trying to go in order to meet the mother/Sarah) What if that's where they just sent Laura's golden orb? In the finale scene, Coop feels around and walks to the spot where the perspective of the movie screen image is taken from.

...

It is. When Cooper's face is superimposed on the screen it is instrumentatlity for Twin Peaks. Cooper's subconscious, his inner self, has become aware of reality as a dream. The next scenes are all scenes of Cooper's subconscious manifesting itself to his conscious mind. Basically Cooper is entering Twin Peak's version of instrumentality.

B A S E D
A
S
E
D

>who did you buy it from

this scene is so sad on rewatch

You addressed pretty much everything here, I think. To be fair, Lynch is 71 now. What did you expect?

>Cooper's face appears observing the scene in episode 17 and says WE LIVE INSIDE A DREAM yet people still refuse to accept that everything we see is Cooper's mind trying to save Laura time and time again

wow

Yeah ive seen his lecture on trancendental meditaton and his documentary.

Again, im going with the meta 'coop and laura are in reality but reality is also another dream' thing.

All of lynch's films have definite and coherant plots/meanings to them. Lynch likes to pretend they're all blank canvases that you can project your own thoughts on to but they're really not. He essentially says it in interviews to avoid having to explain his films because he says himself, the films do the talking.

I think rob ager's analysises are best for explaining this. Everything in lynch's films have a very concrete meaning and purpose to them. Lynch wouldnt just throw in figurative stuff without backing it up plot/internal universe wise. Especially with frost also overseeing the show.

He was trying to stop Judy by bringing Sarah to her.

I'm gonna rewatch the episode tomorrow but I'm shittting myself anticipating the house flash.

it's like a psychological screamer for me. That house is a literal demon.

The first half is probably a reference to the Diner scene where someone asks for Billy and the Diner guests change into a different group

curious what the "walking into frame" part is all about

>Is it?
Cooper finally managed to take Laura away from her previous fate. The story of a little girl by the lane is thus over. The spirits still remember it though, and Diane waits by the curtain. Diane and Cooper reaffirm their identities to themselves, but discuss the possibility of losing them once they finally cross to a new story, a new dream, where things may end up changing. During the reality/identity changing process, lifted straight out of Lost Highway, Diane and Cooper are trying to hold onto their identities. Diane fails, awakens as Linda and leaves. Cooper awakens as himself, but recognizes the letter about "Richard and Linda", recognizing something the Fireman warned him about. Although he keeps onto his name and his mission to find Laura Palmer, Cooper assumes the traits of this reality's Richard persona and no longer acts like himself (does not react to coffee, speaks in a Mr.C-like monotone, acts quite brutal, even though in defense of other people).

By the way, the three men Cooper fights are credited as three "Cowboys". THREE Cowboys. This may or may not be a clue from Mulholland Dr., signifying that Cooper made some sort of mistake.

is the cinema screen supposed to be the fore-brain and the brass pipe being neurons firing high-voltage impulses to create dreams? it would line up with what jeffries said about them living in a dream

HOW CAN ONE MAN BE SO ADEPT AT KINO?

The Monica Bellucci dream.

So what is the meaning and purpose of the Fireman? Is it as simple as the obvious? That a fireman's job is to save people from, and extinguish, fires? Does he exist to combat the suffering caused by the black lodge spirits?

I don't doubt that, the point is none of it is happening. Nothing that's happened post S2's finale is real. It's Cooper, in the lodge, condemned to trying and failing to save Laura over and over.

Who the fuck hates Hawk?

What was the purpose of the following subplots?
>Red and his fucked up drugs
>Carl and his struggle to remain peaceful and happy while his down falls into the gutter
>ONE ONE NINE
>Stefan and Becky's relationship drama
>Bobby's family issues
>Ben Horne and Beverly
>Jerry going missing
>Beverly's cancer husband
>Jesse's new car
>Dr. Amp

I disagree.

Can someone give me a quick rundown on the off-screen & on-screem crimes of David Lynch?

That's a really interesting and great point. I think we can make a lot of sense out of the ending by making further comparisons. Lynch was either heavily inspired by EoE or was in a very similar headspace as Anno was when he made EoE.

"Fire walk with me" is probably using fire as metaphor for rage, violence, destruction, so yeah...

and like BOB, fire has the fure of its own momentum

also
>too lazy to put out fires so you just lie horizontally in the sky
GREAT JOB THERE, FIREMAN

Red Room is the place where your brain's subconsciousness resides, White Lodge (black and white scenes) have something to do with your memories, that's why everything there is so old and monochromatic.

>Judy's nightmare dimension
People keep saying it, but I think the post-25 years without Cooper Twin Peaks dimension was much more nightmarish. Spirits didn't even need to possess anyone anymore to kill indiscriminately, opened portals wherever they wanted and spread the "lodgespace" into more buildings in the reality.

I see it more like a NEW reality, with Cooper trying to hold on the previous knowledge to finally reawaken Laura.

To show that there exists a world that doesn't have to do with cringy lodge shit.

What is the significance of Audrey mentioning the story of the little girl?

In fact, what is Audreys significance in general?

Just thinking of the map and how black corn is fear suffering then the black fire on the map is like a primative form of electricity. So when they chant fire walk with me it's actually activating a evil wizard spell that shifts the negative and positive energy. Like an electron, so that's why shit always flips into a shit show when that chant is said.

The fireman is interesting, I am guessing named that because he needs to put out those fires. Needs to stop fire walk with me. But the fire rises brother

He has a point, you know

We know in e18 RichCoop wakes up in a different hotel, but did anyone point out it's not the same car? The only clear defining shot that clarifies that is the interior of the passenger side door.

Also, when he pulls out from the hotel and it lingers on that streetlight there's an electricity sound, so i'm assuming that's how Diane/Linda exited.

and random question: does the "you were tricked line" make any more sense after the finale?

People still trying to "figure this out" baka.

Watch the interview where Lynch complains about how people insist on turning his films "back" into words, as if they started with a narrative structure in the first place.

There isn't enough information to solve the majority of these mysteries. Look at the last lines in Frost's book about the difference between secrets and mysteries and how he favors unsolvable mysteries because they push us forward and give us an appreciation of the transcendent.

There's nothing to figure out here or some great answer to deduce about "who is the dreamer" (wtf) or "whether or not Laura is safe now".

You're doing it wrong. Beyond a certain point it's just a surrealistic interpretive dance performance.

I just watched the finale.
I have no idea what's going on.

Okay but no one is talking about this? Plebs just got BTFO

Audrey is just an example of dream realities and how one can wake up from them.

Episode 18 is the end of a dream

Should I watch the first two seasons? I started watching the first episode of season one and it just was so long and I feel like I was missing something. Should I give it another chance?

The interior of the hotel/motel is the same, only the exterior changed during the night.

Things happen outside of the tv show.

??

Audrey's knowledge of Billy, her story echoing the ones told by the Roadhouse people, her mentioning of Ghostwood, etc. all imply her dislocation in time and space.

Her consciousness is somehow travelling everywhere like electricity, and she is dreaming and living inside her own dream, but the dream is the show Twin Peaks.

She's outside it all, somehow.

HHAAHHAHAHAHAHAHAHAHAAAAHAA
WHEN WILL THEY LEARN

SHE'S DEAD

Cooper is the lynchpin of the original run so you should at least watch a few episodes with him as the lead before quitting

But the pilot is amazing television so who knows, maybe you're just lame.

>Should I watch the first two seasons? I started watching the first episode of season one and it just was so long and I feel like I was missing something. Should I give it another chance?

>Guise, should I watch the best series in the world?

I'm not even going to waste my time on saying why you're wrong

Saddest part of this series is realizing how nobody has free will. They are a part of something greater, their so-called destiny someone else's doing. They are all subject to the whims of extra-dimensional lodge beings playing 5D galactic chess.

David lynch shared universe theory

No, YOU are wrong

You're saying that nobody should attempt to understand or learn, but that's the exact point of Lynch's work

He's all about meditation and transcendence. You can't do that if you dismiss things as meaningless. His goal is to get you to think, but not get a definite answer.

en.wikipedia.org/wiki/Surveillance_(2008_film) the ending is bleaker than you know.

You won't understand shit if you don't watch the original series. This is a serial drama, not fucking Scrubs.

Can this guy get anymore based?

Dr. Amp helped Nadine to grown

>Red and his fucked up drugs
>Carl and his struggle to remain peaceful and happy while his down falls into the gutter
>Stefan and Becky's relationship drama
>You can also add all the drug-addicted and zombie kids here too.
Without Coop, not only the narcomafia is back to their old tricks again, but it is now interconnected with the evil of the Black Lodge seeping into reality, making Twin Peaks nightmarish with every moment. Even if BOB is destroyed, it won't fix Twin Peaks, now corrupted by evil.

>ONE ONE NINE
Call for help.

>Bobby's family issues
>Ben Horne and Beverly
>Jerry going missing
>Beverly's cancer husband
Either atmospheric, or scrapped plotlines.

>Jesse's new car
>Dr. Amp
Atmospheric, the later one is also important in tying up Nadine/Norma/Ed.

Gwendoline Christie is pretty tall though.

...

lynched

well, he's not based at all, so yes, there's infinite room for him to get more based

>5'11
>6'

The show's pretty much Lost-tier after that finale.

It's clear now that Frost/Lynch have no actual plans for the series and are just bullshitting the story as they go along. Just like the creator's of Lost did.

Please stop praising this faux deep nonsense, you're embarrassing yourselves.

Yeah. To a greater extent, part 17 could be compared to the last 2 episodes of evangelion the show and the scenes where everything ends well is like the congratulations scene. And then we're slapped in the face with eoe/part 18

I took Cooper acting monotone and randomly violent as an indication he no longer took "reality" seriously and was only focused on fulfilling his mission since he's been put through so many different "realities" now that the importance of keeping up appearances has worn down to nothing. Same reason he chose to ignore that dead body in Carrie's / Laura's house. Old Cooper would've reported it and arrested her and everything, but Cooper as we left him at the end of The Return will shoot a crowd of innocent bystanders dead if it'll mean resolving his neverending Laura saving mission.

I know Lynch likes his red herrings and mysteries but there are so many loose endings left (despite being a fairly satisfying ending) that I cant help thinking they were deliberate to set up a continuation via film or season 4.

Is this scene canon?
youtube.com/watch?v=sJLQfOQbtyE

It's cause he's not.
Yep. That's just about everything. I did not like this. At all. I don't see any kino elements in this and I guess I'll look forward to people realizing slowly after the hype that this was a pretty shit showrun for a 25 year wait for fans.

The biggest fuck you to a fanbase I've seen in a while.

Jeffries is similarly dislocated in time and space, and knows of "unofficial versions".

Pretty much, yeah, the future of their relationship and fate are also left ambigious