Re: Season 4? Or is it over after this?
Posted: Fri Mar 13, 2020 7:34 am
I remember it being in production from around 2014
a Twin Peaks and David Lynch Electrical Resource
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Respectfully, I very much disagree, and I think my disagreement is very much founded. My personal feeling - based on various forms of evidence mixed with, well, personal feeling - is that nothing made this century in any medium is as significant as The Return, but whatever. Without taking anything away from Wild at Heart (which I appreciate your views on, and I myself think is extremely important to Lynch's evolving style of editing), as others have pointed out The Return has frequently been called a landmark, a masterpiece, a magnum opus and the most groundbreaking TV series ever; it's topped decade-end lists, and has done so in two mediums. It's appeared highly on film polls that haven't deemed it ineligible, despite the fact that some participating critics who love it won't vote for it since they don't believe it to be a film. And a majority of those who do include it on their lists usually place it number 1, while some that don't include it still make a point to include it as a special mention. The level of passion towards it and the hyperbole leveled at it in some circles (both critics and Letterboxd users) is off the charts in ways that I've rarely seen. This level of measurable critical accolades are not something that Wild at Heart can claim, so I'd have to conclude that The Return is easily the more critically significant of the two. Culturally, time will tell, but already The Return has inspired numerous creators including Sam Esmail and Damon Lindelof. It has noticeably influenced Watchmen, Seasons 2 and 3 of Legion, and opened the door for purely auteur-driven, no-restrictions TV like Nicolas Winding Refn's Too Old To Die Young, which itself sometimes resembles The Return (though Refn has always been influenced by Lynch). The freedom Lynch/Frost were allotted and how far they pushed that freedom is unprecedented and objectively important, and can only bode well for the future of TV. Part 8 alone is routinely billed as the most avant-garde thing ever aired on American TV, and The Return as a whole brings non-narrative, slow cinema into the relative mainstream of prestige TV. It is also EXHIBIT A in the Film vs. TV debate, a debate that gets heatedly stirred up every time it makes a film list, and a debate which, however pointless, is actually at the very center of the changing ways we have come to experience film and TV over the past two decades. Again, I believe this points to a significance at the highest level.NormoftheAndes wrote:I was responding to your comment -
"In terms of critical reception and cultural significance the Return is clearly every bit as important as either of those films (probably a great deal more than WAH)."
All I meant was that I believe The Return to be no more critically or culturally significant than Wild at Heart. Yes, I do think the comparison itself is rather unfounded and silly anyway. Nonetheless, WaH had a MAJOR impact in its time. The Return had an impact but definitely not a HUGE one - it was viewed as an interesting extension and modern updating of a classic tv show.
Wouldn't "fake-pretentious" be an oxymoron? "Pretentious" being that you construe yourself or your point as being more profound or educated than it really is--there's already fakeness involved.NormoftheAndes wrote:The comparison to James Joyce and some saying Lynch should just become more and more insular - I don't think any such comparison makes sense, nevermind seeming highly fake-pretentious (I don't believe anyone here is a scholar of Joyce, correct me if I am wrong) - is it not possible for the director to be as free with his own creativity but still hold the door open to as many lovers of cinema as possible?
A rumour that seemed spun out of very little, right?krishnanspace wrote:https://deadline.com/2020/03/stranger-t ... 202882758/
Apparently Netflix has shut down all of its productions. So that means the rumoured Lynch Netflix show too might be affected
I can confirm that TPTR in various ways was a major influence on "Too Old To Die Young".NormoftheAndes wrote:krishnanspace wrote:Too Old to Die Young, I am pretty sure would have been made regardless of Lynch.
The comparison has been made quite a few times, and Lynch is at least familiar with him. Here's an example from this interview, by the interviewer, and Lynch responding:NormoftheAndes wrote:The comparison to James Joyce, one issue I had is I don't think Lynch is inspired by him nor has he read him.
Really? How?eyeboogers wrote:I can confirm that TPTR in various ways was a major influence on "Too Old To Die Young".NormoftheAndes wrote:krishnanspace wrote:Too Old to Die Young, I am pretty sure would have been made regardless of Lynch.
I'd like to know what eyeboogers thinks, but for my part...Because of when it aired - two years after The Return premiered - and how it felt it struck me as the first true post-The Return series. It struck me as such due to the complete creative freedom, the total narrative subversion that borders on testing patience and fucking with the audience, and the uncompromising extremity of the work of art. Beyond this, specific similarities were its glacial pacing (which Refn has been practicing for years now but never to the degree that this longform experiment allowed), the focus on a world gone mad and the rot at the center of America, and especially a few very specific, dry shots that introduce a scene that couple with sound design to feel exactly like those in The Return (especially a slow pan across a rack of tires in a garage). It is pure speculation on my part that these elements are a sign that Refn was directly influenced, but I do believe it was likely greenlighted in the first place specifically due to the news that Showtime was funding the auteur-driven Lynch project (and HBO funding Sorrentino's The Young Pope). At any rate, I think that influence by osmosis counts. The Return is very much in the air.NormoftheAndes wrote:Really? How?eyeboogers wrote:I can confirm that TPTR in various ways was a major influence on "Too Old To Die Young".NormoftheAndes wrote:
I've seen Too Old...and quite liked it but I couldn't see any major link to The Return. Apart from perhaps the pacing being glacial at times, although it was markedly slower-paced than Season 3.
Frost: It felt like the right place to end it, given that Cooper had kind of defied the rules to try to undo a terrible wrong, but ended up paying a terrible price himself. In terms of making more Twin Peaks, I never say never. Who would have expected us to come back when we did? That being said, I think The Return stands on its own really effectively, and we’ll just have to wait and see.