NormoftheAndes wrote:LateReg wrote:yaxomoxay wrote:
We have seen it for 22 episodes, multiple times. I honestly think it would’ve served no purpose at all especially since it’s linked to one of the most iconic moments of TP, one that can’t even be emulated in the slightest. I honestly think it was better this way, as Indiana Jones thought us, some sacred objects should never be touched.
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Are we talking about the Welcome to Twin Peaks sign? If so, it seems like it was intentionally brushed past. A poignant reminder that this is not some nostalgia trip and that focusing on the past is not the way to move forward.
You honestly thought that to yourself whilst watching that scene? Since Lynch is clearly not fond of psychological analysis of the meaning of what he is shooting, I don't think that was the intention too much. I am quite surprised when I hear fans talking about the new season being an exercise in anti-nostalgia as I didn't get that impression at all - if anything, I did pick up quite a lot of nostalgia in The Return, but filled with sadness.
I can't see Lynch or Frost having some message to send that looking back is a bad idea. The shot from the Mitchums' car as Cooper rapidly enters the town zooms past the town sign in a blur - encapsulating everything about part 17 and its rushed, hazy feel - as if we're never really truly in Twin Peaks. Dare I say it, we see things in a dream-like way.
I like the dream-like way you're presenting the scene, as if we're never truly in Twin Peaks, and I certainly think that applies. Whether it's meant to feel like a dream or to simply symbolize the hazy rush and blurring of time within the episode, the sign was intentionally brushed past in a way that felt very purposeful. I thought it was odd while watching it, as it leaves quite an impression that such an iconic symbol was discarded so quickly. The entire series seemed to take pleasure in perverting icons, so upon reflection, it would seem to be another example of things not being quite how we remembered them, of Cooper having to rush in and out of town because in his hubris he thinks has bigger fish to fry, of very little pleasure being taken in the simple nostalgia of it all. Maybe Cooper himself is so focused on his task that he is missing the beauty of the place he once loved. You can look at this a lot of ways, and they all dovetail together nicely, but all I know is that the sign was brushed past and I consider The Return to be the most layered work of art I've ever seen from a thematic perspective and Lynch's most intellectually demanding film, so my belief is that Lynch intended to blow past the sign in the same way he intended to subvert countless other expectations. All of it combines to hold meaning. Now, if Lynch just managed to do what feels right and really didn't think it through on the multi-layered level it seems he (and Frost) did, I'm okay with that too, because he's tapping into something deeper like he always has. The ideas are still there, especially when so many are stacked on top of one another that the overall impression is hard to ignore.
I don't think The Return is anti-nostalgia, and in fact have argued against that; rather, I think it is an interrogation of nostalgia. But in the end I think that the idea of The Return is that looking back to the past isn't beneficial...unless of course you think the ending is a happy one, which I'm actually open to. But what we see is that Cooper meddles with the past and erases all that we hold dear, and seems to wind up worse off. It's open to interpretation, but that's certainly a pretty obvious way of looking at the finales.