Part 10 - Laura is the one (SPOILERS)

[manalicream]

New message on commercialsihate :

Spoiler:

"Candie!"

Sent from my Nexus 6P using Tapatalk

[sycamore]

Miriam's last name is different in the end credits. What's amusing is I half-expected it to be.

Those credits are just as important as the story itself, at times.

Yes, Sarah Jean Long was credited for playing the character "Miriam Sullivan" in parts 6 and 10. The letter that Deputy Chad Broxford intercepts is from a "Miriam Hodges" (also of Twin Peaks) ... not the same Miriam. Note the zip code: 98705 or 98725 leads to ... Zacatecas, Mexico. Maybe this letter came from the same server as Diane's text? (haha). Also, Richard Horne asks, "Sent that letter today?" ... and Miriam replies, "That's right." Meaning: the letter she mailed could not arrive at the sheriff's station a few hours later on that same day.

[DeepBlueSeed]

Sonny Jim is a reference to "Who's Afraid of Virginia Woolf?" . In that story Sonny Jim is a non-existent construct thought up by a quarreling married couple to disguise their loneliness. I don't think Lynch/Frost would have used this name is he was just another kid.

Whoa! Mind blown!

[DeepBlueSeed]

This is the main thing that bugs me. How can anyone "love" Stephen when it's clear to everybody that he's an ugly, messy dork with no redeeming features whatsoever!

Ah, but a major theme of this show is how people miss what's right in front of them and often see what they want to see.

When we first meet Steven, in the scene with Mike, he seems like he could definitely be lovable. A bit clueless, sure. Awkward, definitely. But there are tons of lovable characters who might be super awkward and a bit clueless. This--the prototypical lovable, sweet loser--is the Steven that the town at large sees. It's likely the Steven that Becky fell for. It's only when we see him alone with Becky that more disturbing stuff comes out. First the drug use, which could definitely be read as a basically good guy with a chemical dependency taking over his life, and now the violence--which, starkly, is what it is.

This all serves to underline Becky's isolation in this situation. She's not as alone as she feels she is--obviously Shelly would believe her and take her in in a second, as would Norma, and I'd bet good money that Bobby would rush to her side whether he's her father or not and regardless of he and Shelly's current relationship status--but it's what she feels that keeps her trapped.

Sadly, I felt that the Steven/Becky scene was the most real of the night. Way too many abusers are people on the outside who "everyone loves."

True. The way she cowers too makes it feel like it's something she's suffered many times before, but she won't leave him; this is the man she loves. Whereas Richard Horne is unloved by even his grandparents.

[DeepBlueSeed]

The whole story of Janey-E and Coop is an absurdist riff on marriage--and an effective one in my mind. As I mentioned elsewhere on this thread, a major theme of the series is that people very often miss what's in front of them and even when they do notice that something is "off," they are more likely to rationalize it away than confront it. This truth is exaggerated in the Vegas storyline, but that truth is only heightened, in my mind, for its absurdist presentation.

Janey-E finding herself attracted to her husband again, after god knows how long of barely even seeing him, was part of this absurdist play Lynch is putting on. The fact that Janey-E was having this experience almost completely on her own, and projecting "Dougie's" part, is a theme as old as Joyce's "The Dead." It's part of living with someone for a long time. We think we know our partner's inner-life--we assume we're basically on the same page unless forced to acknowledge otherwise.

Telling this story with the language of absurdism is exceedingly effective. The whole sequence, from the doctor's office through the morning-after glow, is hilarious and totally tragic at the same time.

And, yes, there is absolutely a disturbing edge to it all. Coop is passive and passive is 100% not the same thing as consent. That is disturbing. Coop is not in fact Janey-E's husband so she is, in fact, having sex with a stranger. That is disturbing. This is all part of the mix. Janey-E's subjective experience is positive, and certainly it is not her intent to force herself. She's created an illusion here, out of a deep, genuine need, not just for sex but for love. Love is absolutely part of the equation, here.

Coop serves as kind of a blank canvas on which Janey-E can do her projecting, and he is not exactly unresponsive. He, too, is living primarily inside his own head, piecing things slowly together. He's affected by the emotional energy around him. His subjective experience, here, seems to have also been largely positive. But, that doesn't wash away the thorny issue of consent, because, given a full awareness of the situation, Coop would almost certainly not have consented, no matter how attracted he might have been to Janey-E, due to the fact that Janey-E was operating under the false impression that he was her husband.

So, yes, thorny. A beautiful, complicated, compassionate, absurd, funny, sad, moving, thorny bundle!

Much more eloquently phrased than my clumsy attempts. I find it an awkward scene, yes, yet I still enjoy the scene. There's humour. There's love. There's a big sloppy grin on DougieCoop's face.

[Meaxylon]

Looking at those credits again - actor Greg Mills is credited as "Paul".

Can someone help me out - is Paul someone we've seen before? I don't recognise the actor from his photo on imdb. Is he someone from the Las Vegas storyline? If he hasn't shown up before I might think he's the anonymous person in the photo of the glass box.

[BigEd]

-So the Mitchums are Todd's enemies, so who's Todd? Rival casino owner?

That's exactly what Todd indicated in his discussion with the crooked insurance guy.

[BigEd]

Miriam's last name is different in the end credits. What's amusing is I half-expected it to be.

Those credits are just as important as the story itself, at times.

Yes, Sarah Jean Long was credited for playing the character "Miriam Sullivan" in parts 6 and 10. The letter that Deputy Chad Broxford intercepts is from a "Miriam Hodges" (also of Twin Peaks) ... not the same Miriam. Note the zip code: 98705 or 98725 leads to ... Zacatecas, Mexico. Maybe this letter came from the same server as Diane's text? (haha). Also, Richard Horne asks, "Sent that letter today?" ... and Miriam replies, "That's right." Meaning: the letter she mailed could not arrive at the sheriff's station a few hours later on that same day.

Which now sets up a potentially funny scene where Chad tries to intercept the mail a second day in a row. Lucy was already a bit rattled by his interference with the normal routine. I can't see her reacting very well to a repeat performance.

[krishnanspace]

We haven't gone deeper into why Cooper seems to be missing his gunshot wound from Josie and his stab wound from Windom Earle.

Cooper was wearing a bulletproof vest.He never got shot

[DeepBlueSeed]

i truly don't understand why we have to hide these posts under the spoiler tag
this is what the series is presenting..it is up for discussion in my mind
why the discomfort or aversion from doing just that

It's neither discomfort nor aversion. It's annoyance and distraction. Please take these off-topic posts to a new thread or a forum more suitable for societal discussions. This thread is intended to discuss what actually happened in part 10 of Twin Peaks the Return. Trying to analyze and critique what is wrong with our society really distracts from the discussion.

I firmly disagree. The discussions have always directly related to what we are seeing in the episode. As long as it's connecting to Part 10 and the images/ideas present in it, fair game! There's always stuff I find less interesting, such as analysis of numbers in Lynch's work, but I'm OK with that being important for others to discuss and I will scroll down.

As for Part 10, I will say that oddly enough, it has felt the most Lynchian / Twin Peaks-esque to me - there has been a lot of tension building that felt released, to a certain extent. Maybe I was just pleased to have less of the procedural stuff (which is wonderful too, but Part 9 had so much of it). Opening up with the murder of Miriam and then following it up with the Carl Rodd / Becky / Steven scene is such an incredible one-two punch. Lots of the criticism of the new series I have understood, while usually not agreeing, however reading here and there that people found this particular episode boring astonishes me!

Did anyone else think Rebekah Del Rio was Sherilyn Fenn the first time round? I did for about 5 seconds.

Yep. Between that and the dress she wears (and all the instances of red) I wonder whether they're flagging up events due to occur in the next episode.

[sylvia_north]

Is Candie just fucking with the Mitchum boys? Or maybe she was in the car with Dougie when he had the accident?

Yeah - I had a pretty strong reaction to Candy last night

I've enjoyed the ideas that she's a more layered character - I think Counterpaul mentioned something about "subliminal rage," and others have floated the idea that her behavior is deliberate just to irritate the Mitchum boys, which I like. I still have the same feelings about her character I did after watching last night, but I'll be watching like everyone else to see where it goes.

I am hoping maybe DKL is pulling one over on us. It would be a hoot if Candy is actually undercover and ends up thwarting the plans to take out Dougie-Coop, but that's a wild theory.

Sublimated rage. Or other emotional issues, or just frustration at a world she has a hard time navigating that demands feminine displays of submission to survive in it.

Spoiler:

I don't know if I should spoiler this because we can't talk about female portrayals without someone preemptively whining "modern feminism TM lol" is trying to take away femicide and bimbos from their show

We can project all sorts of things onto Candie. Lynch/Frost aborted Goddess, perhaps this is an avatar of Anthony Summers' version of Marilyn. Ornamental plaything of gangsters, spaced out on drugs, childlike, blonde waif. The pink satin and gloves, even the matching heels and hosiery, whispers "Marilyn." MM was sex comedy, armour for a tortured soul. Not anticipating she'll be more than what she appears, though, based on empirical evidence. She'll probably get rubbed out by gangsters and die screaming - and that would confirm my Goddess hypothesis.

[sycamore]

Looking at those credits again - actor Greg Mills is credited as "Paul".

Can someone help me out - is Paul someone we've seen before? I don't recognise the actor from his photo on imdb. Is he someone from the Las Vegas storyline? If he hasn't shown up before I might think he's the anonymous person in the photo of the glass box.

see the cast & character list in my signature

[Meaxylon]

Looking at those credits again - actor Greg Mills is credited as "Paul".

Can someone help me out - is Paul someone we've seen before? I don't recognise the actor from his photo on imdb. Is he someone from the Las Vegas storyline? If he hasn't shown up before I might think he's the anonymous person in the photo of the glass box.

see the cast & character list in my signature

Thanks!

[riesje]

Was autotune added to No Stars? It sounds slightly different on Spotify, not to mention very very similar to The World Spins.

The vocals were tuned VERY hard, 100% pitch correction and a very fast transition. Del Rio has a beautiful natural vibrato and it got squelched on this.

Then Silencio from Mulholland drive was also autotuned.

[guildnavigator]

How does that make sense to you? Because two other people hear autotune on a song in 2017 then a song from 2001 has to also have it? Why?

Also by "Silencio" I can only assume you mean "Llorando" which she recorded before 1994, and sang along to in mullholland drive. Autotune wasn't developed until 1997.