Look at it this way: it's the same shit, and probably has slightly more bonus stuff than the new box sets (assuming not every bonus feature ports over).
Also what's the impotus of getting the FWWM Criterion if you already have Entire Mystery? My understanding is Criterion used the Entire Mystery transfer...
Look at it this way: it's the same shit, and probably has slightly more bonus stuff than the new box sets (assuming not every bonus feature ports over).
Also what's the impotus of getting the FWWM Criterion if you already have Entire Mystery? My understanding is Criterion used the Entire Mystery transfer...
Ha, the Criterion copy was actually a birthday gift I was too kind to ask for a receipt on, but FWWM is one of my all time favorite movies so I probably would have wound up double dipping anyway lol. The packaging and booklet is gorgeous. I know they use the same master though, in fact the Entire Mystery one is still the one I put in because the extras/Missing Pieces is on a separate disc as opposed to the Criterion one where it's all on one disc with the movie.
Just saw this on the BBC website. Had really grown to like him during Season 3 and had hoped if Season 4 was a thing to see the Truman brothers together. RIP.
I'm actually re-watching Season 2 currently. I've only watched the return once so I'm pretty excited to revisit that again once I finish that and Fire Walk with Me.
This channel has fostered a toxic community in its videos (see: the Tragedy of Tomm Hullett YouTube video; this channel is responsible for directing its viewers towards harassing an ex-Konami employee)
This guy passes a lot of speculation off as fact. There's a very condescending attitude in the video at times. Claims his interpretation of Twin Peaks is "correct"
If you're ok with that, he does have some interesting observations and I think some of his theories have merit.
This channel has fostered a toxic community in its videos (see: the Tragedy of Tomm Hullett YouTube video; this channel is responsible for directing its viewers towards harassing an ex-Konami employee)
This guy passes a lot of speculation off as fact. There's a very condescending attitude in the video at times. Claims his interpretation of Twin Peaks is "correct"
If you're ok with that, he does have some interesting observations and I think some of his theories have merit.
This channel has fostered a toxic community in its videos (see: the Tragedy of Tomm Hullett YouTube video; this channel is responsible for directing its viewers towards harassing an ex-Konami employee)
This guy passes a lot of speculation off as fact. There's a very condescending attitude in the video at times. Claims his interpretation of Twin Peaks is "correct"
If you're ok with that, he does have some interesting observations and I think some of his theories have merit.
Given how so much of Lynch's work is drawn from a set of ideas that are allowed to take particular forms during production I find it beguiling that there is such a keenness from some viewers to come up with a grand unified theory for his works. Why does everything need to be so explicable or literal?
I really prefer the kind of analysis that comes out from Corn Pone Flicks' channel or the Diane podcast. By comparison they are attentive and absorbed into the work but don't try to draw every episode into a crazy wall of connections.
Given how so much of Lynch's work is drawn from a set of ideas that are allowed to take particular forms during production I find it beguiling that there is such a keenness from some viewers to come up with a grand unified theory for his works. Why does everything need to be so explicable or literal?
I really prefer the kind of analysis that comes out from Corn Pone Flicks' channel or the Diane podcast. By comparison they are attentive and absorbed into the work but don't try to draw every episode into a crazy wall of connections.
Fully agree, I really dislike this kind of analysis or explanation which focuses so much on the literal or "what's happening in canon" kind of thing, particularly for media like the kind of stuff David Lynch does. Much of it can be and is purely symbolic.
I was thinking as I drove home today (listening to the Twin Peaks Limited Event Series Soundtrack) that memory is mostly feeling and images (and a few other senses, depending). We don't look back at our lives in full plot. It's snatches of moments. So I'll add to the idea that not everything has to be so god darn literal and connected. Ride the feeling of what's happening and enjoy it.
Given how so much of Lynch's work is drawn from a set of ideas that are allowed to take particular forms during production I find it beguiling that there is such a keenness from some viewers to come up with a grand unified theory for his works. Why does everything need to be so explicable or literal?
I really prefer the kind of analysis that comes out from Corn Pone Flicks' channel or the Diane podcast. By comparison they are attentive and absorbed into the work but don't try to draw every episode into a crazy wall of connections.
Yup, I agree completely. I feel like it says a lot when the first part of the video is having to convince the viewer how "correct" you're about to be. Such a systematic approach takes the soul out of the thing.
I was thinking as I drove home today (listening to the Twin Peaks Limited Event Series Soundtrack) that memory is mostly feeling and images (and a few other senses, depending). We don't look back at our lives in full plot. It's snatches of moments. So I'll add to the idea that not everything has to be so god darn literal and connected. Ride the feeling of what's happening and enjoy it.
Funnily enough, this is how Johnny Jewel composed several songs for the new season. Just from the feelings and certain images he had from the series original run.
I will say this: I am under the impression Mark Frost takes the world in a more literal sense than Lynch does, that Twin Peaks is a bit more literal than Lynch's other works, and I think a bit part of that is it is a collaboration of Lynch and Frost. I was more convinced of this fact than ever after reading both books Frost wrote for Twin Peaks, that the world is a bit more literal than what Lynch usually does and I think a big part of it is Frost's love of conspiracy theories.
I still think at the end of the day that dissecting too closely at it isn't what the show really wants. And that even if some things are a bit literal in-universe, they still take on a form more of a liquid than a solid. And even if I think Frost's involvement does make parts of the show more literal than this other works, I also think Lynch still makes many of it more... dreamy, and based on a feeling, than just that everything in the world of Twin Peaks is literal. I think there's kinda' a balance there.
Despite me saying this, I kinda' just realized over time that I'm just not as interested in the literal workings of Twin Peaks. I like to take it in my own way just like Lynch's other works, and I'm sure Lynch himself would be happy with that. Like I'm happy there's a grounding and it's not like everything in Twin Peaks is some big surreal mystery, part of the original show's appeal was that it focused so much on the grounding and even The Return has a lot of grounded moments. But like I don't really need to know the in-universe reason why Phillip Jeffries turned into a giant metal can as an example, I'm fine with that just being as he is now.
I will say this: I am under the impression Mark Frost takes the world in a more literal sense than Lynch does, that Twin Peaks is a bit more literal than Lynch's other works, and I think a bit part of that is it is a collaboration of Lynch and Frost. I was more convinced of this fact than ever after reading both books Frost wrote for Twin Peaks, that the world is a bit more literal than what Lynch usually does and I think a big part of it is Frost's love of conspiracy theories.
I still think at the end of the day that dissecting too closely at it isn't what the show really wants. And that even if some things are a bit literal in-universe, they still take on a form more of a liquid than a solid. And even if I think Frost's involvement does make parts of the show more literal than this other works, I also think Lynch still makes many of it more... dreamy, and based on a feeling, than just that everything in the world of Twin Peaks is literal. I think there's kinda' a balance there.
Despite me saying this, I kinda' just realized over time that I'm just not as interested in the literal workings of Twin Peaks. I like to take it in my own way just like Lynch's other works, and I'm sure Lynch himself would be happy with that. Like I'm happy there's a grounding and it's not like everything in Twin Peaks is some big surreal mystery, part of the original show's appeal was that it focused so much on the grounding and even The Return has a lot of grounded moments. But like I don't really need to know the in-universe reason why Phillip Jeffries turned into a giant metal can as an example, I'm fine with that just being as he is now.
That feels right. I think it's a good marriage of their visions. Their collaboration is important to the show and what it's about. They're working on the story from two different vantage points. The duality in the show in inherited from their creative process. They are the two mountains that make the Twin Peaks.
I think one of the main things that rubs me the wrong way about asserting that Twin Peaks IS commentary on one particular narrow topic, is that it just doesn't jibe with the things I know about the show.
Take Cooper. He speaks like that, because Mark Frost's Dad, Warren, speaks like that. He's into meditation because David's into meditation.
Take the red room sequence. That was conceived purely because they were contractually obligated into making a scene for a theatrical version of the pilot. It's just some random thing David thought up, that he liked and that people responded so well to, that it was written into the series. I'm sure he wasn't thinking about television when he touched that hot car.
There's definitely moments that are overtly about TV, like the shot at the start of FWWM with the TV being smashed, but I think seeing that everywhere is just seeing patterns.
Plus, I don't get the sense that David watches much TV or thinks much about it.
I think one of the main things that rubs me the wrong way about asserting that Twin Peaks IS commentary on one particular narrow topic, is that it just doesn't jibe with the things I know about the show.
Take Cooper. He speaks like that, because Mark Frost's Dad, Warren, speaks like that. He's into meditation because David's into meditation.
Take the red room sequence. That was conceived purely because they were contractually obligated into making a scene for a theatrical version of the pilot. It's just some random thing David thought up, that he liked and that people responded so well to, that it was written into the series. I'm sure he wasn't thinking about television when he touched that hot car.
There's definitely moments that are overtly about TV, like the shot at the start of FWWM with the TV being smashed, but I think seeing that everywhere is just seeing patterns.
Plus, I don't get the sense that David watches much TV or thinks much about it.
I think one of the main things that rubs me the wrong way about asserting that Twin Peaks IS commentary on one particular narrow topic, is that it just doesn't jibe with the things I know about the show.
Take Cooper. He speaks like that, because Mark Frost's Dad, Warren, speaks like that. He's into meditation because David's into meditation.
Take the red room sequence. That was conceived purely because they were contractually obligated into making a scene for a theatrical version of the pilot. It's just some random thing David thought up, that he liked and that people responded so well to, that it was written into the series. I'm sure he wasn't thinking about television when he touched that hot car.
There's definitely moments that are overtly about TV, like the shot at the start of FWWM with the TV being smashed, but I think seeing that everywhere is just seeing patterns.
Plus, I don't get the sense that David watches much TV or thinks much about it.
It's not that Lynch has never seen a TV show, he did say a few years ago his favorite TV shows were Mad Men, Breaking Bad, and True Detective. Funnily enough I think he's seen more TV shows than he's seen movies in recent years, on the opposite side of the spectrum he's mentioned he hardly ever see's movies anymore and is just to busy to do so with his own things.
That said, I agree with you Plagiarize that I doubt Lynch spent a lot of time sitting down lamenting how to make the Return work in a TV format, and has mentioned multiple times he filmed it like it was an 18 hour movie, and that fact shows itself a lot in the final product. I think he was more interested in TV shows allowing him to get more creative and to try something more he wanted to do than stick too closely to how TV shows are "supposed" to work. I also am with you not everything in the show was composed of completely coherent thoughts, the Red Room example is a great one as Lynch has specifically talked about how the idea for that came from him sitting on the hood of a heated car in the middle of the day under the sun, the idea wasn't specifically for Twin Peaks it just ended up being used for that project and was included originally to give some sorta' conclusion to the extended pilot if the show wasn't picked up. Or Hell, BOB was constructed entirely because a member of the crew was accidentally shot in a creepy way in one of the shots they were doing.
I haven't sat down to watch Twin Perfect's video as of yet, and I might not. My impression of them is not the worst, but it's also not the best. I appreciate all the obvious time and effort they put into their videos, but they're rather condescending and as we're discussing here, take everything a bit too literally on concepts I'm pretty sure are supposed to be more ambiguous. I remember thinking their Silent Hill videos were all at once pretty well made, but also a number of things I think they were too convinced their reading was the only right way to read certain things (and in fact I think some of their readings over time haven't aged as well as some others with some creators talking a bit more about their vision in the last few years). I'm really not convinced even complex universes with deeper symbolic meanings specifically concocted everything to mean something literal, I do think sometimes they just put stuff in there because they had an idea they thought was cool or go with things more because of a feeling while in a creative flow state rather than meticulously sitting there and making sure everything makes logical sense. I don't think creative work always needs to make logical sense.
Though I do think The Return isn't mindless, and I think both Frost's love of conspiracy theories and things connecting shows in the third season at various points, and both Lynch and Frost had a much longer period to brainstorm ideas for the third season so I'm actually pretty certain the third season has a bit more thought put into it and I think there's a lot of signs that where they were eventually headed with various plot points were plotted out in advance. That said, some of that improv definitely also was at play, one of the biggest things we know about is the Audrey stuff. It was mentioned somewhere (but I'm spacing on where off the top right now) Audrey was originally supposed to only get one scene in The Return, which was the scene where Richard robs his grandma, apparently Audrey was supposed to be in that scene and it was her only scene. But the actress didn't like it, and Lynch and Frost in late stages plotted out the rest of Audrey's scenes we have in the series.
In the end I really do think that while Twin Peaks is more literal than Lynch's other works, and a big part of that is because of Mark Frost also helping make it (and this is not a bad thing at all), I also don't think everything has some elaborate deeper cohesive meaning, and don't think the show was made to be examined and dissected too closely or logically.
I got my Z to A set in. I just threw in the Roadhouse music disc and put that one. The set miraculously survived shipping unscathed which literally hasn't happened to me before with a large cardboard set like this. It is gorgeous. Won't have time to do more than scratch the surface of it, but I can't wait to see the Pilot in 4K HDR!
That's why I bother though. You can wait until then to see the pilot in 4K. Waiting for the 'definitive' release of anything never seems to make sense.
The complete mystery was complete until it wasn't. Etc.
It's nice the full Julee Cruise performance is on the box set. The Behind the Curtain features are amazing. It's so amazing to see Lynch creating season 3.
It's nice the full Julee Cruise performance is on the box set. The Behind the Curtain features are amazing. It's so amazing to see Lynch creating season 3.
I've only watched some of the roadhouse performances so far, but yeah. I love that I now have a disc I can just put on and enjoy all of those in full without credits overlaid on them.
I want those roadhourse performances so badly, but not for the current price, so I really hope they'll bring them forward for whatever the next set will be.
Also came across this shirt a few hours ago, picked it up straight away.
I've only watched some of the roadhouse performances so far, but yeah. I love that I now have a disc I can just put on and enjoy all of those in full without credits overlaid on them.
Whattaya know, the original series in From Z to A is a 100% repackage of the Entire Mystery. It even includes the audio syncing issues! Great job CBS Home Video.
I want those roadhourse performances so badly, but not for the current price, so I really hope they'll bring them forward for whatever the next set will be.
Also came across this shirt a few hours ago, picked it up straight away.
Whattaya know, the original series in From Z to A is a 100% repackage of the Entire Mystery. It even includes the audio syncing issues! Great job CBS Home Video.
I'm not finding much on this. blu-ray.com forums have someone saying sound sync issues only effected some players on the Entire Mystery, so could be why I'm not finding more on the problem.
I'm not finding much on this. blu-ray.com forums have someone saying sound sync issues only effected some players on the Entire Mystery, so could be why I'm not finding more on the problem.
It's not a Blu Ray player problem, that was the spin. The problem is in the content itself.
There was a flood of messages on the CBS Home Video Facebook page when Entire Mystery dropped complaining about this issue. They ended up not really addressing it / not offering a replacement disc.
For a good example, go to the barbershop quartet scene at the beginning of season 2. You'll notice the dialogue between Cooper and Albert is slightly out of sync with the picture. This happens at various points throughout the show. It's not terrible, but this problem doesn't exist if you stream it on Hulu or Netflix so it's just frustrating.
Just played a tiny bit of Twin Peaks VR. The 'mistakes' in the preview video (black and white chevrons, the 'ring' on the right hand) have been corrected. Haven't 'played' much. It's fairly basic but it's neat to poke around some of these locations at least.
So I'm rewatching The Return for like the third time in the span of a year (about this time last year I had never watched ANY Twin Peaks. lol), and I'm always taken aback by just how quiet The Return is in comparison to the original run of the show (at least the first episode back). The longer pauses, the much less use of musical cues, and even the ambient backgrounds are dialed back, and when they're there, they are muted or ephemeral... except for, of course, the moments when it goes in the opposite direction wildly, but even those are rarer. It's amazing just how off-kilter this first episode is compared to even Fire Walk With Me when that itself was somewhat of a departure from the show.
Also, it's been a heck of a lot of fun to go back and read/listen to so much theorizing. I haven't posted here since I finished my original run in August of last year, but I listened to Diane podcast all the way through, and I've gone through the two Frost books (haven't read Jennifer Lynch's book yet). I finished the first two seasons back in like, March/April or something, and did my best to give a break to "simulate" the wait (I caved and watched the return in July/August finishing the night before I made my first post here). I abstained from everything in that pause, including looking up who was or wasn't returning; that was the biggest challenge because I wanted to know if I'd see more of some of my favorites.
Jesus, Catherine Coulson's death in life and the show, and the deterioration of Miguel Ferrer's voice, at times, is just heartbreaking.
Anyway, don't know if I'll rewatch all of The Return again this time, or just start jumping around.
And somewhat separately, the original run of the show really reshaped my views on Lynch in general. I had only seen a couple of his movies prior to Twin Peaks, and was kind of hesitant to commit to watching the show because... I didn't really like the ones I had seen. I found stuff like The Elephant Man and Blue Velvet to be mean and cruel, and the only one I legitimately loved was Mulholland Drive when I saw it in theaters. I still don't like The Elephant Man (outside of its production/depiction of coal-soaked London), but I saw more of a sort of humanity in it and not an off-putting spectacle, and my views about Blue Velvet greatly increased. Plus it finally got me to sit down and watch Eraserhead and Wild at Heart.
I know it isn't that controversial of an opinion, but the only real stuff I didn't like in the entire run was some of the plots in season 2, mainly whatever they were trying to do with James.
Edit: Something I've been thinking about: How many characters/versions did Kyle MacLachlan ultimately play in the third season?
There's Cooper, Mr C, Dougie, Cooper as Dougie, and then Cooper/??? in the last episodes, right?
