Twin Peaks returns in 2016 on Showtime

Hollywoodaholic

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Glad to see David Lynch found Lissie (check out "Sun Keeps Risin'" from her latest album Wild West for chills). I've loved her music for years, even with the bad lip-synching going on here. Those last roadhouse scenes showcasing music performances Lynch obviously digs, are a highlight for me.
 

Josh Steinberg

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I haven't known many of the bands, but I'm getting into this way of ending the episode. With the idea that Lynch and Frost wrote it and shot it as one long script, they had to decide where the episode breaks were after. I appreciate that instead of just cutting to black abruptly at the last scene and having a standard credit roll over black, that we get to ease out of this world gently as the episode comes to a close. I watch on the Showtime app and not the cable channel, and on there it says exactly how long each episode is before you watch it. I just subtract 5 minutes from that number to make up for the musical performance and don't feel that it's an either/or game. The music doesn't come at the expense of more story, but it does give a little bit of elegance to the form.

I've been thinking since the first time they ended on a musical performance that the last episode could end with Real Cooper back and hanging out with his Twin Peaks buddies at the Roadhouse. It wouldn't surprise me at all if the "Starring Kyle MacLachlan" came in the last episode superimposed over Kyle at the Roadhouse. Heck, maybe it'll at last say, "Starring Kyle MacLachlan as Agent Dale Cooper" - wouldn't you just cheer at the sight of that?
 

Joe_H

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The AVclub review just reminded me... it was strange how in the Roadhouse booth, the friend was just out of the blue "what's your mom's name again?" I know that functionally it served the purpose to tell us that it was Tina's daughter, but it felt weird the way they fit it (or didn't fit it, really) into the conversation.
 

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Tino

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As sad as I was 26 years ago when the first Twin Peaks was cancelled, I think it's going to be worse when this series ends. This will in all likelihood be the last time we see any of these characters. I will miss them.
 
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Reggie W

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The New York Times has a brief but great interview with Lynch about the sound design for the "Twin Peaks" revival. It's probably the most successful attempt I've ever seen at getting him to discuss his production process.
Quite honestly, I think the sound design may be the most impressive aspect of this show and it is brilliant. I have not always been impressed with how things look in this new series but I have been blown away by the sound. As Travis states above you can clearly tell a lot of thought has gone into how things sound on the show and it makes an enormous difference to how the show comes across. It is definitely obvious when Twin Peaks is on the television even if you are not in the room to see it because no other show SOUNDS like it.

I think in many of the episodes it has been the sound that has pulled me into the story and carried me along.
 

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That was, far and away, my favorite hour of this revival yet. Jam-packed from beginning to end with consequential scenes.

The opening, with Nadine on a long pilgrimage by foot with her shit-shoveling golden shovel... What follows is something that "Twin Peaks" fans have been waiting for for well over a quarter century. And the choice of Otis Redding's "I've Been Loving You Too Long" was sublime. That could practically be Ed and Norma's theme song. Loved Shelly's smile, too, when she realized what was happening.

From there, we move to Dark Coop, pulling up in front of a very familiar convenience store. Someone comes out, and he asks to speak to Phillip Jeffries. The man leads him up the stairs on the side of the building, and we learn how a one-story convenience store could have entities living above it. After a couple highly mysterious conveyances, we end up at what appears to be the Black Lodge doppelganger of the Red Diamond City Motel, where Leland Palmer had met Teresa Banks. There, we're reintroduced to Philip Jeffries who -- much like the Arm -- has been reconstituted. I'm guessing that David Bowie didn't disclose his cancer to Lynch and Frost, because otherwise it would have been a no brainer to have him just give them a call and record Jeffries's lines over the phone, instead of using an impersonator.

What a soliloquy Frost & Lynch gave Catherine Coulson for her final appearance as the Log Lady. Death was imminent for Margaret, and death was imminent for Catherine, and all of the got mixed together for what will certainly be remembered as one of the most powerful sequences in the entire revival. The scene afterward, in the darkened conference room, was very sensitively and tastefully done. And I loved that Margaret got an "in memory of" during the end credits. It's a tribute to Coulson that the character she embodied left such a footprint on the cultural landscape.

There still has to be more going on than it seems with Audrey. A reason why she can't walk out that door.

Of all of the no context characters we've gotten in these little scenes at the roadhouse, Charlene Yi's Ruby made the biggest impression.

More proof that Sunset Boulevard is a great movie.
Yes indeed, The Gordon Cole character was originally named as an homage to Bert Moorhouse's character in that film, and now it comes full circle. I don't know if we'll have "our" Cooper back next week -- though signs look better than ever -- but that certainly seemed to be a conclusive end to the "Dougie" phase of Cooper's journey.
 

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Another week, another episode, another very happy Josh.

The opening was wonderful. I'm on edge the whole time, like Ed, feeling it's too good to be true, that Lynch and Frost will pull the carpet up from under them again, and then...it all works out. Absolutely wonderful. I was clapping (and hoping I didn't wake my wife in the process).

The MacLachlan and the Gordon/Albert scenes have been more or less alternating the past few weeks, and with Gordon getting so much screen time last week, I figured this episode would be heavy on at least one of the Coopers. I loved the entirety of that sequence.

The remaining vignettes were great and some truly outstanding, the best of which of course were the Log Lady scenes. It was a beautiful tribute and I love that she had a final clue for him.

After this week's Dougie development, I wouldn't be shocked (sorry!) if next week is a Gordon/Albert episode and they keep us waiting for the last week. Two weeks, three episodes.

For me, I feel like I'm watching one of the great pieces of art made in my lifetime being unveiled one week at a time. I have enjoyed this in a way I've enjoyed few things. So far, it has been everything I could have hoped for and so much more. I'm excited to see how it'll end, and yet, I never want it to stop.
 

TravisR

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Sharp Dressed Man is a song that actually makes sense to be played at the Roadhouse.

Also, writer/co-creator Mark Frost played the guy that stumbled upon Gersten and Steven in the woods. I wonder if he's supposed to be his reporter character from episode 2001.

I love that this show is almost entirely focused on 'old' people. It's rare that you see a show with a majority of adults above 40 and usually even when you do, they have to mix some younger people into the main cast to have some sex appeal but this show isn't doing that. Outside of Amanda Seyfried, even most of the younger cast members are sleazy creeps rather than young and beautiful. In a similar vein, when was the last time you saw a love story on TV between two people in their sixties?


For me, I feel like I'm watching one of the great pieces of art made in my lifetime being unveiled one week at a time.
It'll never happen but I wish some movie theater chain would be crazy enough to play it in an 18 hour marathon with no breaks. Unlike a lot of TV, this is shot well enough that it could be shown in a movie theater. You could go to the bathroom or eat during the musical acts.
 
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Tim Gerdes

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Also, writer/co-creator Mark Frost played the guy that stumbled upon Gersten and Steven in the woods. I wonder if he's supposed to be his reporter character from episode 2001.
Yes, Frost was again credited as Cyril Pons.

I had a very difficult time understanding what Steven was saying to Gersten. Did anyone else get the impression from their conversation that he had killed Becky?
 
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TravisR

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Yes, Frost was again credited as Cyril Pons.
I guess he's hit hard times.


I had a very difficult time understanding what Steven was saying to Gersten. Did anyone else get the impression from their conversation that he had killed Becky?
I don't know that you were supposed to understand everything that Steven was saying since he's presumably very high on drugs but yeah, he at least thinks he has killed Becky. For the sake of Shelly and Bobby, I hope that isn't the case.
 
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Joe_H

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Yeah, and we saw Shelly telling Becky to come down to the Double R and have some pie... but to my memory at least we haven't seen Becky since that phone call. I was thinking that Mark Frost's character was going to stumble onto Becky's dead body, not Steven and Gersten.

Also, the more I watch The Return, the more it reminds me I need to re-watch FWWM and The Missing Pieces. I've probably seen Twin Peaks the original series in the double-digits by now, but I think I've only watched FWWM maybe three times (including once right before The Return started), and The Missing Pieces only once.
 
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Greg_S_H

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The scenes with Audrey are my least favorite. It's the same thing over and over, with her being even more abusive towards Clark Middleton than Red Reddington usually is. It really does seem to lean towards her being in a coma since the explosion, giving birth during that state. Maybe she and Coop will come out of their living hells together.
 

Joe_H

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Hmm, having read a bunch of reviews now, it's curious to me that there seems to be a bit of confusion over the numbers shown to Bad Coop for Judy, when they were pretty clearly (to me at least) the same coordinates from the arm that Diane was memorizing. People keep asking about 480551 but I definitely saw a degree sign and a ' in there.
 

Hollywoodaholic

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I love that this show is almost entirely focused on 'old' people. It's rare that you see a show with a majority of adults above 40 and usually even when you do, they have to mix some younger people into the main cast to have some sex appeal but this show isn't doing that. Outside of Amanda Seyfried, even most of the younger cast members are sleazy creeps rather than young and beautiful. In a similar vein, when was the last time you saw a love story on TV between two people in their sixties?
Quite a contrast to when this show first aired and was all about the young and beautiful.
 
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TravisR

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I am amazed at how poor Mark Frost is excluded from almost every discussion or appraisal of this show. It's not like he created it, wrote half of it and produced it or anything :D
After 27 years, he should be used to it. :) Wrapped In Plastic (the Twin Peaks magazine) referred to him as "Twin Peaks's Invisible Man" when they interviewed him.
 
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