Part 11 - There's fire where you are going (SPOILERS)

[Ross]

On his latest interview with KEXP, Dean Hurley pointed out that the Shawn Colvin cover is from the same Doc Pomus tribute album as Lou Reed's cover of "This Magic Moment," which DKL of course used in Lost Highway.

Also, not that this was believable to begin with, but it clears up that the pianist is most definitely not playing a New Order song at the beginning. All of it is written by Angelo.

Well- the melody really does sound like New Order's Sub-Culture. There's no denying that.

[Pinky]

Pay attention to Diane's nails. She has different colors in that.. And one particular color for the spiritual finger

Also, I am quite sure that the scene with diane and badcoop is not really what it seems.

Those nail colours are strange. One for each finger.

I do think looking at that scene with Diane, Albert and Gordon, at the station, while they were waiting for coffee, Dianne senses that they both know something is up with her. What she is actually doing though is beyond me. And why she would say the woodsman was coming out of the car, that has me puzzled.

Because she's a doppelganger, she's seeing things reversed.

[Framed_Angel]

https://www.wmagazine.com/gallery/david ... prager/all
There was this article too. Amazing stuff. I was taken by the portratues, and wondered about it untill i had happenstance came upon the inspiration for the photoshoot which homages disney's "Return to Oz" 1985.
The film featured the ingenue Faiuza Balk as Dorothy,who faces the evil queen Momby who can switch heads with any of the many gallery of collected womens heads. The gallery is identical to the portraits in this W piece. Good film. (And we know how much Lynch reveres Baum's Oz)

I was going to post about the Oz aspects of my experience of TP:TR so thank you for sharing this, I hadn't seen it!
"Return to Oz" the film I haven't yet seen. But I read the book "Ozma of Oz" when I was growing up, by L. Frank Baum, which the film "Return to Oz" is based on. I've picked it up to reread again.
The wiki on "Ozma of Oz" states "Unlike Baum's other Oz books where the main character seeks to return home [Kansas], this story involves Dorothy's quest to return to Oz."
The story follows Dorothy and eventually familiar faces are reintroduced but not before encountering some harrowing otherworldly creatures and freaky situations. The queen who changes her heads like the Gallery shown in your link, that whole concept added to the nightmare quality for me reading it as a kid.
Whether from Dale's point of view or ours there's a resemblance here IMO, that the quest to find one's way to a place called home is fragmented and often as with dreams, even getting glimpses of a familiar place or face, the circumstances can be confusing. And much like TPTR's effective suspense-generating allure, going to sleep again the following night cannot guarantee how your dream will take shape. Ozma of Oz gave shape to my nightmares and my vivid imagination for many years and in this dreamscape I recognize a little of what Lynch is doing with The Return.

[LateReg]

I agree wholeheartedly with all of this. I also agree with the poster below who noted that DougieCoop is the emotional core of the show; but as charming and beautiful as I have found much of that storyline, it doesn't compare to the powerful mixture of suffering, pain, love and (sometimes) redemption we've gotten from all of DKL's major works from FWWM on. Outside of the Dougie scenes, TPTR seems almost aggressively focused on narrative/mythology (and shaggy-dog asides), at least when compared to most of DKL's other "recent" works (ironic since many viewers feel there's been little plot movement). In the original show, the mythology worked at its best when it was in service of showing Laura's pain and the terror and sadness caused by her death. I hope when all is said and done, all of the new developments end up saying something similarly complex and personal about Dale, and about all of us.

I agree. But I must say that as far as emotions are concerned, the final scene of Part 11 had me reeling. It was powerful and unexpected and operated at a level that most things don't, in that it had me all at once on the edge of my seat with a huge smile on my face and tears in my eyes...longing for the return. A friend of mine said you have to actively want it (the return) to be fully engaged with this, at the same time you're willing to be taken wherever Lynch/Frost take you. That scene so far is the culmination of that.

I agree with both of you. There are parts of the Dougie storyline that have been touching: his tear at Sonny Jim, his obsession with the policeman statue, his look at the American flag. I hope that the way they complete Dale's arc gives these moments even greater depth (for example, I currently have zero idea where they are going, if anywhere at all, with the Janey-E or Sonny Jim characters).

I essentially hope the show is truly ABOUT something meaningful, and not just as you say, mythology and narrative.

I do want to chime back in on this, but I don't have much time. So I'm just gonna be vague and say that I do think that while many stretches of this show are rooted in narrative, I still do get the sense that every moment contains multiple layers whether thematically regarding the plot or social issues or meta- regarding the actors and the aging process and the all encompassing idea of the nature of a return (to the show, to roles, to nostalgia, a spiritual return, etc), and that the mythology itself still carries meaning. And even if a few scenes are simply about mythology, so were Earle's monologues in the original series, and I think that's ok. At any rate, I already do think that this new series is more complex than the original, and can only suspect that it's all building to some sort of beautiful, momentous catharsis. That said, I think so far what we're seeing is as much intellectual as emotional, which is perhaps a new thing for Lynch.

[Firewalkwithme91]

I´m wondering if they are going to humanize Red a bit and make him more likeable? I mean the Mitchum brothers were introduced as violent but more classy thugs and look how nice they have become.

[bastia]

Pay attention to Diane's nails. She has different colors in that.. And one particular color for the spiritual finger

Also, I am quite sure that the scene with diane and badcoop is not really what it seems.

Those nail colours are strange. One for each finger.

I do think looking at that scene with Diane, Albert and Gordon, at the station, while they were waiting for coffee, Dianne senses that they both know something is up with her. What she is actually doing though is beyond me. And why she would say the woodsman was coming out of the car, that has me puzzled.

Because she's a doppelganger, she's seeing things reversed.

What i thought too. At least this is where the hints go

[chromereflectsimage]

Pay attention to Diane's nails. She has different colors in that.. And one particular color for the spiritual finger

Also, I am quite sure that the scene with diane and badcoop is not really what it seems.

Those nail colours are strange. One for each finger.

I do think looking at that scene with Diane, Albert and Gordon, at the station, while they were waiting for coffee, Dianne senses that they both know something is up with her. What she is actually doing though is beyond me. And why she would say the woodsman was coming out of the car, that has me puzzled.

I think Diane is working for Phillip Jeffries, who is actually working against bad Coop. Just a theory.

[Ragnell]

I´m wondering if they are going to humanize Red a bit and make him more likeable? I mean the Mitchum brothers were introduced as violent but more classy thugs and look how nice they have become.

I don't know. After this ep I'm more inclined to think Red is supernatural. All hell breaks loose right after he appears. Two children are involved in this right after he appears. Red was the one who set the events of the hit and run in effect during his scene with Richard.

I shook my head at the idea he was the grown up Tremond boy, since that was a spirit, but maybe his connection to corruption and harm of children means he IS the spirit evolved and now independent from the grandmother.

Maybe he'll be humanized. But this one is definitely more than he appears.

[bastia]

Pay attention to Diane's nails. She has different colors in that.. And one particular color for the spiritual finger

Also, I am quite sure that the scene with diane and badcoop is not really what it seems.

Those nail colours are strange. One for each finger.

I do think looking at that scene with Diane, Albert and Gordon, at the station, while they were waiting for coffee, Dianne senses that they both know something is up with her. What she is actually doing though is beyond me. And why she would say the woodsman was coming out of the car, that has me puzzled.

I think Diane is working for Phillip Jeffries, who is actually working against bad Coop. Just a theory.

It actually can be plausible. Maybe jeffries was Diane's lover before disappearing

[Novalis]

The wood paneling on the wall looks similar to the wood paneling in the convenience store in FWWM:

I experience the same creepy abandoned house aesthetic with respect to the rooms in the picture Mrs. Tremond-Chalfont gives to Laura in the RR Diner carpark ('this would look nice on your wall') in Fire Walk With Me. I can't recall the exact look but I seem to remember the same wood panelling / dado there also. Highly dilapidated of course. If anyone has images confirming this it would be nice to see them.

Others have commented on the designs of the sofas and chairs being fairly consistent across the spirit realm. I noticed this too. There's a certain type of rich cotton velvet upholstery fabric overprinted with metallic burnished foil (sometimes 'antiqued' or pre-distressed) in an acanthus leaf pattern, after the William Morris style. Interesting choices.

[Pinky]

i know i've mentioned it already, but I think that MacLachlan look at 0.29 is one of the saddest things I have ever seen. His eyes, and the way his lips begin to move.

https://youtu.be/szGVfz3S1sA?t=28s

[yaxomoxay]

i know i've mentioned it already, but I think that MacLachlan look at 0.29 is one of the saddest things I have ever seen. His eyes, and the way his lips begin to move.

https://youtu.be/szGVfz3S1sA?t=28s

I agree. The whole scene is a masterpiece of sadness and hope.
As the Mitchum brothers said, "To Dougie!"


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[kylie]

On his latest interview with KEXP, Dean Hurley pointed out that the Shawn Colvin cover is from the same Doc Pomus tribute album as Lou Reed's cover of "This Magic Moment," which DKL of course used in Lost Highway.

Also, not that this was believable to begin with, but it clears up that the pianist is most definitely not playing a New Order song at the beginning. All of it is written by Angelo.

Well- the melody really does sound like New Order's Sub-Culture. There's no denying that.

I agree that the first few notes followed "Subculture," but then the tune went off in a completely different direction. Similarly, the first few notes of the slow part that Dale/Dougie reacted to were similar to "Sycamore Trees," but then off it went elsewhere.

[Hockey Mask]

I am asking because I have no idea...

I know televisions can differ in color.With all this talk about notes couldn't notes change from television to television also?

[Wonderful & Strange]

Does anyone else get the feeling that the Twin Peaks storylines are not going to resolve.

1. There's no reason all of the storylines should resolve. In real life everyone doesn't experience some neat little kind of resolve at the same time, if ever. Lynch famously either avoids resolution, or leaves resolution very much open to interpretation (just look at the various interpretations of the end of Blue Velvet).

2. The entire narrative arc was written ahead of time, over the course of years. They wrote the entire story they wanted to write, then Lynch filmed it, then cut it up and arranged it into "parts". There's not going to be an issue with Lynch having said "Sorry gang, I was so busy filming this stuff I didn't have time to film the whole story that we wrote, so I just stopped at 75%."

There's been a lot of concern along the lines of:

Oh my gosh! THERE'S NOT ENOUGH TIME!
THERE'S. NOT. ENOUGH. TIME!!!

They're telling the story they wanted to tell. The whole thing.

A surprisingly large amount of people act as though they're under the impression that Lynch and company are pumping these parts out week by week, perhaps just finishing a day before the show airs.