20 minutes of Cooper and Diane driving while barely talking

>20 minutes of Cooper and Diane driving while barely talking
>10 minutes of Diane making whacky orgasm faces
>another 20 minutes of Cooper driving with Laura Palmer while barely talking

God this is most boring show ever. Thank god it's over.

L Y N C H E D

It was honestly the only ending that could work, I was expecting to be disappointed but was instead served this plate of pure kino

why was she covering coop's face while they were fucking? did it have something to do with being raped by doppelcoop before?

yes, it was not a love scene, they had to employ sex magic to move on

thanks for the quick rundown

Only way to enter into where judy is was to conjure prime garmonbozia, easiest way was to reenact Dianes rape so she suffered

The actual ending was great, but a lot of the last episode was rather dull.

I thought it was perfect t b h, the series of slow, beautiful shot scenes gave me time to reflect on the series as a whole and made the finale so much more powerful.
>That pure look of despair on coopers face as the credits slowly roll over him

Gave me chills

The final episode was great, but I kinda feel the show could've benefited a bit from a reduced run time. Certain parts went on just a bit too long.

Why was there 2 Diane at the motel? Why did Cooper fuck her?

>i act as if complaining is an achievement

Im sure thoses skills will come into real use once your drafted into the army for the war in Qatar.

protip: it was never made for your generation to understand

one was Diane, the other was Linda. Cooper fucked her because it would remind Diane of when evil coop raped her and so her suffering would draw Judy into that reality so they could stop her. Similar thing happened at the start of s3 with the couple fucking in front of the glass box

did he fuck diane or linda? and how would fucking either of them 'draw Judy into that reality'

...

I pity a man who can't appreciate watching someone quietly drive along a lonely desert road.

Season 3 was a mistake.

Because being a bkack lodge spirit, Judy is drawn to suffering. By sleeping with Diane and having her relive the traumatic experience of being raped, Judy is drawn into the universe they're in. Ostensibly.

I just got fed up with the driving. Lynch loves shots of the road, and The Return was no exception, but we had got plenty of them throughout rhebseason - we didn't need 10 minutes during the finale. I didn't find the car behind them tense at all, and they stopped for gas ffs.
I really did like the actual ending, but the rest of the episode was a mixed bag.
The romance between Diane and Coop, ontop of the lack of concern or even mention of Annie, just rubbed me the wrong way.

>Similar thing happened at the start of s3 with the couple fucking in front of the glass box
How is that similar though? That was just a couple having sex - there wasn't pain and sorrow.

Because of the suffering. Garmonbozia is produced through suffering and pain, and that stuff is Judy's juice.

Don't you remember the first two seasons? Love or fear can both open the door.

David Lynch is not for you.

>romance
again

Fuck of TPfag
Lynch is one of my favourite directors. Not everything he does is perfect. And it's certainly not all like Twin Peaks, no matter how hard /tpg/ likes to pretend it is.

I'd ask if you've only seen Twin Peaks, but it's clear you haven't even seen it.
Lynch doesn't shy away from romance.

I'm not the user you're replying to, and i loved the return, but i'm really sick of ANY criticism being met with LYNCHED or whatever 'baby can't into lynch' iteration. the final season was fantastic, but it had it's flaws, i get that we try to act patrician on this board, but this meme is really getting tiresome and is destroying any attempts at discussing the series.

>K-keep me entertained David. Don't let me get bored ;)

Sounds like you need to head back to Lobsterposting

Ok you know what, we try to have nice discussion here and this is really quite insulting, i'm sick of it.

Aw, babby's trying to be catty. Cute.
Yea, Twin Peaks, which i have seen! Does feature romance. So far, you're doing great. But the problem is, Coop and Diane did not have a romantic relationship, as such. The intercourse they had was not out of shared love or romance, but an obligation, a duty. Do you understand?

Way to derail the thread asshole

Bump for actual answers and not dickhead insults

>The intercourse they had was not out of shared love or romance, but an obligation, a duty. Do you understand?
So what was that all about before they crossed into the other world/timeline/fuck knows?

Just watched Blue Velvet. It's a prequel to Twin Peaks right? And Jeffrey saves Linda, but now they're called Richard and Linda.

*tips fedora*

Don't feed the trolls.

Cooper is an agent of the lodge after MIKE initiates him with the magician's chant.

After this point Cooper's concerns are universal and he is given a task to stop Judy and retrieve Laura.

He attempts to do so through Phillip Jeffries and goes to the past but Laura is whisked away by Judy before he can bring her back to the white lodge.

It is implied that Laura is after that point stuck in Judy's new reality as some sort of prison. There is a white horse figurine in "Laura's" house and there is a white horse toy ride in front of "Judy's" where she works. The whole thing is basically a prison of sorts.

In order for Coop to get to that particular reality he needs to perform an act of magic and that's why he takes Diane to help him. She's reluctant.

They perform a sex magic act and they swap into their placeholders in Judy's reality. Diane is traumatized by her past experience with Mr C and is not able to transition properly and reverts to Linda (her placeholder) and bails. Coop overwrites a "Richard" and he's slightly altered by the ordeal.
In the diner he uses violence to stop the truckers, holds everyone at gunpoint, doesn't react to the corpse at "Laura's" place and generally does not speak to "Laura" in any significant way.

In the end they go to the Palmer's residence where Laura snaps out of it and Judy's prison reality is shattered.
If that is true it means that he is able to retrieve Laura to the lodge which means Judy is defeated.

Laura Dern looks really hot with that wig.

>They perform a sex magic act
So that's how virgins call fucking now.

>spells favorite with an extra U

You have to go back.

That's good and all, but it doesn't actually answer what I asked. If there was no romance, why were Diane and Coop embracing once he left the red room? If there's no romance then what do you call that shit?

They're really good friends.

love and fear is how you move between "dimensions" in the TP canon.

It's because strong emotions (or nuclear explosions apparently) are necessary to generate power to accomplish such feats.

Coop possibly attempted to use his affection towards Diane to get into Judy's world. That's also why they kiss before driving a car through in that desert.
But once the sex act started it turned "bad" because Diane was traumatized by Mr C.
In the end the dimension-hopping was botched and Diane reverts to her placeholder personality and Coop is half-merged with Richard.

You know, it kinda would have helped the audience know what was going on if ANY of that was explained on the show.

I don't care if nothing gets explained, i'm used to Lynch not making sense. I just don't like these slow tedious scenes that always drag on way too long. I don't remember the original having much of that.

It was. You might have been funposting though and missed it.

>Not making sense
This is embarrassing. What didn't make sense?

Fatty

>he didn't enjoy seeing this thicc mama

Fags OUT

>What didn't make sense?

Showtimes choice of renewing the show

it's been 20 years since the original series, the landscape of television has changed dramatically. anyone who expected to see old twin peaks is missing that lynch's whole thing is deconstruction and subversion.

It's SURREALIST ART.

I love when brainlets try to make shitposts about Twin Peaks

who the fuck is linda

The giant/fireman tells Cooper about Richard and Linda and "two birds with one stone."

You see two people fucking. Then a monster comes out to kill them.

Then in episode 17 Gordon talks about a plan to get Judy but doesn't know anything else.

Unless you're a crazy person you cannot string these events together to come to any conclusions about the final episode. There's nothing there and the show gives you nothing.

The bank scene from the finale of season 2 is one of the most tedious (and funny) things in the show. Lynch has always loved those scenes. Be it for comedic value, or to create tension.

>you're not allowed to come up with theories as to what happened because it's impossible to figure out and if you do I'll call you names

brainlet 101

I hate how this spawned so much fanwank and basically turned tp fans into drwhofags jerking each other off about timelines.

I'll be honest. I definitely think the long scenes of driving and nothing happening were supposed to be funny. Lynch has always said that it puzzles him that no one seems to find his work as funny as he does. The long scenes of driving are not meant to be a complete "fuck you" to the audience, per se - Lynch isn't really that mean spirited or vindictive and I think he and Frost did take the time to think about what was actually going on and why. I'd say is pretty valid. But I think Lynch certainly finds it amusing that he has everyone anxiously anticipating the finale of this series and then draws it out to this degree. You're supposed to chuckle when Coop and Laura stop at the gas station after all that driving, nothing happens, and they get back in the car and we cut right back to more driving. It was supposed to be funny that we had to wait so long for Coop to return.

But it's not just for laughs, I think Lynch is asking questions about the medium of television. He's asking why we as viewers require a certain sort of pace and delivery of exposition even though it's got nothing to do with real life. It takes a long time to drive from Texas to Washington state. Why would we expect it to be instantaneous? I also feel like Lynch is trying to express that this alternate reality is more based in the real world than the one all the Twin Peaks characters exist in. It's more bland, slow, and unchanging like our world. Perhaps because it's a nightmare world devised by Judy where nothing can grow or prosper.

This. We make it to the final episode of Season 2, as well as Lynch's directorial return to the series for the first time in a long time, and what does he do? He features a bank scene in which an extremely old man is very slowly hobbling from one side of the room to the next, and we watch every second of it. Lynch has always been like this.

>this pure headcanon bullshit
Jesus Christ

I don't get how people don't understand that this was a commentary on television

>In Part 1, two young people stare into a glass box and when they stop paying attention, something kills them
>In Part 2, Sarah Palmer watches gruesome footage of animals ripping each other apart
>Part 7: Frank Truman and Doc Hayward chat over Skype, which is apparently the primary way that Lynch and Frost developed the return (over Skype)
>Part 8: We see viewing screens in the White Lodge or wherever that is, also people are captivated to the point of being hypnotized/sedated by the message over the radio
>Part 13: Sarah Palmer watches a clip of boxing in a loop, i.e. just repetitive violence with no substance. Also the guys in Montana watch Coop's final scene with Ray on a gigantic screen while we're also viewing it through a screen
>In Part 14, Monica Bellucci appears as herself rather than as a character. And says they live inside a dream. Twin Peaks is Lynch's dream ain't it?
>Jacoby's show
>Repeated references to "electricity", the images and sounds of telephone wires peppered throughout

>I don't get how people don't understand that this was a commentary on television

Always has been since the original series.

Yes, but the medium he was commenting on changed. The original series was a commentary on soap operas and the like. This new series is definitely poking fun at mystery shows like Lost and X-Files, hence all the number games and endless lists of names to remember and the lack of a satisfying payoff.

I didn't even bother to finish the season when it became clear Lynch was doing whatever he wanted, fuck what TP was about. Ofc, his retarded fans ate it all up, as if it was sweet ambrosia.

this is the most believable interpretation of the final i've read, nicely done user

this is a good analysis. i just don't get how can lynch expect his work to be funny when he goes for such a dark and scary tone all the time

I remember jokingly telling my friend one of the episodes was nothing but driving for about half of it to try and trick him. It's funny that it actually turned out to be true in the finale.

Josh?

Or it's just another show to add to that list.

David Lynch didn't watch either of those shows, how could he make fun of them? What he creates is genuine, even when it's shit.

>David Lynch didn't watch either of those shows
source?

>X-Files
It had a decent conclusion - until the new series came along anyway. Even then, there's a new series on the horizon.

>decent conclusion
>Mulder dryly talks at the screen for an hour and poorly dumps 9 seasons of exposition on the viewers

the only thing that i still care about concerning x-files is Mulder finding his sister

I feel like I got Lynched the moment Dave Duchovny appeared. In a good way. I agree with some of the people saying that it's comedy, there's a great deal of humor, playing with archetypes(Evil Coop= Jekyll&Hyde/ Femme Fatales everywhere/ Bad guy revenge porn at the arm-wrestling and Sarah's bar scene/ f.x) and fucked up surrealism. BOB reminded me of some cheesy Mortal Kombat character. (cue. MUH DESTINY)

Maybe people are just too weirded out or 'scared' to laugh.

On the other hand though, it's got nostalgia, bittersweetness and tragic drama written into its very core.

David really feels he needs to communicate a wide range of emotions and styles and I think I kinda get it when he seems awkward whenever he's pressed on all the mysterious 'reasons'.

I don't think the ending was perfect but S3 is still definitely a 9/10 for me.

Lynch is brilliant at packaging nonsense in a way that makes everyone obsessed over it. And I'm not even being sarcastic or salty, he is genuinely amazing at giving his work the feeling of importance and gravitas even when it's completely abstract and contrarian.

>one was Diane, the other was Linda

Who is Linda?

But there`s a lot of suffering in the world, why would Judy be drawn particularly into that experience?

Been watching Lynch movies longer than most people in this thread lived on this earth.

He intentionally makes " "pointless" " scenes in writing, then he directs the actors to remove any 'hint' or suggestion of meaning. Then he tells the editors to do minimal cutting.

This is one of those scenes. The "editor took a lunchbreak" is what we Lynch fans call it. In all his movies this is the only "tell" he has.

Editor took a lunchbreak
EQUALS
Pointless scene for the sake of pointlessness but in a way that someone would think it has a point, it has no meaning or deeper subtext it's not a "filler" it's less than a filler it's INTENTIONAL pointlessness.

You're not being "Lynched meme'd" you're being a below-average consumer that fell for his only "tell" that became a trend in his directing by chance.

In a year or so this will a "discovered" trope by newbies that watched his new craft, but it's already at least 25~ years old by now for veterans.

It's funny talking with you kids, you see later.