Lost in the Movies

Twin Peaks: The Return Part 8 - "Gotta light?"


Through almost my entire history of watching Twin Peaks, I've watched it alone. I saw the first two seasons on my computer screen, with headphones, in the summer of 2008. Fire Walk With Me soon became one of my most memorable solo viewings of any movie, a visceral experience I had to write about as soon as I finished, because it was so overwhelming. I immediately rewatched much of the series, writing about each episode - again, by myself. When I rewatched Twin Peaks six years later (aside from one episode with a friend, after buying a used VHS tape at a dying rental store), it was again a private experience; I finally saw a screening of Fire Walk With Me at a local library, with a crowd and my cousin (a newly-minted Peaks fan) but by this point I'd seen the movie a half-dozen times and had plenty of opportunities to think about it. The new series, initially, followed suit. I was visiting a friend in New York for the premiere, but he'd never watched Twin Peaks and didn't want to start with The Return so he sat in the other room focused on his own work, only poking his head back in when I yelled loudly at the glass box monster.

Tonight, at my parents' house after a long week spent with family,  I was surrounded by other viewers including an aunt eating Cheerios, the aforementioned cousin, my mother - who quickly left the room (around the time the dusty ghost monsters were ripping up the bloody doppelganger) - and a visiting sister who just watched the finale for the first time a few days ago. My sister hadn't even had time yet to watch the film, let alone any new episodes, so I was prepared to occasionally catch her up to speed when old and new characters appeared. As it turned out, that wouldn't be an issue. We sat spellbound for much of the episode, but also talked, noticing details, drawing comparisons, occasionally just marvelling (or cringing), laughing at jokes and asides. On the one hand, this would seem a wildly inappropriate way to watch one of the most immersive, meditative, visual pieces (not to underplay one of Lynch's most evocative soundscapes) of...well, cinema (the televisual aspect seems almost incidental) in the past hundred years. And indeed, I may wake up early tomorrow, before work, to pull a chair up much closer to the TV and rewatch the whole hour alone, soaking it in without any company or distractions.

Yet to be honest, this feels like the perfect time to make Twin Peaks communal. Not only are we all - recent, veteran, and brand-new Peaks viewers - equally lost in uncharted waters (this is radical new territory for an already radical series) - we are also undergoing one of Lynch's deepest dives into world history and mythology. This is, somehow, the history of the human race, and the modern age, and we're all in it together.

Twin Peaks: The Return Part 7 - "There's a body all right."


This Twin Peaks is a slippery beast. If you think you have a handle on its pacing, it speeds up or slows down accordingly. If you think it's going to stretch out story beats, it hurls a half-dozen major plot points - and suggestive dramatic tidbits - in scene after scene (and yet, even still, you're left hungering for more). And halfway through the episode, when you think it has established itself primarily as an expositional hour, with Frost's narrative twists and turns leading the way, Lynch suddenly makes room for not one, not two, but three ambient setpieces in which we linger on locations and soak in the mood. Of course, Twin Peaks was always defined by abrupt shifts in tone, and it had its fair share of slower and faster episodes, maybe even parts of episodes (though I don't think the pace ever fluctuated so sharply before). But perhaps over the years and through multiple rewatches - and other shows echoing Twin Peaks' unpredictability - we grew used to these dazzling surprises. Part 7 in particular is a thrilling reminder that despite prestige TV's vaunted imagination, there's still nothing else like Twin Peaks. I mean, sure, we saw a talking dream fish on The Sopranos but we didn't see a talking braintree popping up through the concrete like a weed to matter-of-factly hiss, "Squeeze his hand off!" to a near-comatose insurance salesman wrestling with a small bald assassin while his wife bashes the little man over the head from behind.

"I have no idea where this will lead us": talking Twin Peaks: The Return Pt. 1-6 w/ Obnoxious & Anonymous


One month (and six hours of television) later, I'm back on Obnoxious & Anonymous, where Cameron and I discussed the first third of Twin Peaks: The Return for a whopping three hours. Topics include Cooper's identity (and why he's unlikely to "snap back" any moment), what Audrey's and Laura's roles will be, whether we are dealing with multiple words, the possible relevance of Richard and Linda, and much, much, much more.

Twin Peaks: The Return Part 6 - "Don't die."


Well, can you blame me? I imagine a lot of people are going to top their recaps or reviews with this picture tonight and tomorrow. This moment was the closest part 6 came to fan service - for three weeks, viewers have been predicting that "I know where she drinks" referred to Diane, and that Diane would be played by Laura Dern (although I don't think anyone predicted she'd be sporting that very Lynchian wig). The scene unfolds with fairly conventional buildup and payoff (Albert speaking her name) with a cute nod to Diane's forty hours of masked identity, as she is identified by the back of her head before finally turning around for the camera. It's a lot of fun, and I can't wait to see how her character develops, but this very brief bit is entirely unrepresentative of the rest of "Don't die." It's also something we all saw coming. As such, it's not very typical of Twin Peaks: The Return, or perhaps especially of part 6. I predict this will be one of the more frustrating and alienating episodes for many viewers, but while it didn't do as much for me as part 5, I liked it (probably more than part 4). Parts of it made me uncomfortable, but in interesting ways. It also helps that I'm sold on the Dougie/Coop scenario - but we'll get to that momentarily. After all, why rush? The Return certainly isn't.

Twin Peaks: The Return Part 5 - "Case files."


Two weeks ago, I wrote that Twin Peaks: The Return was going to allow us to crawl into corners of the narrative, to get lost inside of it. This is the part - or damn it, the episode - where that magic spell really hits. "Episode" is fitting because, despite the claim that this is all one big movie, more or less arbitrarily sliced into chunks to prolong the experience, "Case files." feels like a TV episode in the best possible way. This works as a weekly, episodic, self-sustained entry of a serialized drama. It takes strength both from its reliance on a larger canvas which we can't yet fully see and from its isolated joys and sorrows. We dip into at least a dozen different stories, check in with members of an expansive ensemble, intrigued by what we glimpse and (this is key) emotionally invested in their experiences. Some of these experiences - quite a few, actually - are set in the town of Twin Peaks itself and connected to familiar characters (either directly or indirectly), which heightens our engagement. Other are not, yet they connect with us too; possibly the most affecting image is the final one, set in Las Vegas and commenting directly on the discovery, loss, and re-discovery of humanity through art. Though it cuts even deeper, part 5's fast-paced, eclectic structure evokes the best of Twin Peaks' first season, a combination of visiting colorful characters, dropping breadcrumbs along a dark wooded path, and carving out moments of ecstasy, suspense, and raucous comedy. Celluloid or digital, feature-length or serialized into standalone entries, the essence of cinema is and always will be emotion. That was certainly the essence of Twin Peaks, no matter how that was buried or what it was packaged inside.


Twin Peaks & the World w/ Discourse Collective: Lynch, Politics & Prestige TV

(Francesco Bongiorni for The Washington Post
- I LOVE this illustration)

A few weeks ago, the left-wing cultural podcast Discourse Collective invited me to discuss Twin Peaks with them. The episode was released yesterday but recorded before the new series premiere, so we only discuss the original series and Fire Walk With Me. The series is contrasted with the present-day craze for "prestige TV" (as covered in Matt Christman's recent "How TV Became Respectable Without Getting Better") and we also dig into Lynch's tangled political history (which I also talked about on a recent episode of Twin Peaks Unwrapped if you want to hear more). Hopefully we can all return to the subject after the new series has wrapped up.

EARLIER DISCLAIMER (no longer applies - follow the link above):
Some time in 2019 or 2020, the episode was taken down with most others from this podcast and there doesn't seem to be any prospect of it being restored. Unfortunately, I did not download a copy myself when it was available, making this and my next appearance the only online work in twelve years to disappear from this archive. If it ever re-emerges, I will cross-post it again here and in the directories.

Son of Man on Wonders in the Dark + Learn About Lost in the Movies


Time for a status update - especially as I have several items to link. It's been a wild week and I'm still catching up with so much commentary on Twin Peaks. As you've probably seen if you're reading this, I reviewed all four hours of Twin Peaks: The Return since the premiere on Sunday and eagerly await the fifth hour on June 4. The third and fourth will air next week, but I already streamed them since they were available early on the app; from June on, one hour will play live and show up to stream simultaneously every Sunday and my review will appear shortly thereafter.

Meanwhile, there are a few non-Twin Peaks developments to report. Several weeks of Wonders in the Dark's tribute to co-founder Allan Fish will climax soon with Sam Juliano's essay on the late critic (which I am eagerly anticipating). The Allan Fish Online Film Festival focuses on movies available to the public via free online venues like YouTube, with a variety of writers highlighting obscure films just as Allan did. I participated by offering up my review of Son of Man for reprinting. It's a great movie (the video itself is embedded in the piece) which Allan himself introduced me to. If you're unfamiliar with it, I highly suggest you visit my review, linked below. That's the spirit of this whole endeavor, after all.


Allan had a huge impact on my work, and by coincidence, the day the above piece went up I was in New York City, meeting with Sam and his family as well as several other Wonders alumni, and we all talked warmly about Allan, his work, and the site that brought us all together.

Finally, last week - after months of other tweaks to make Lost in the Movies more presentable and navigable, I finally created a mobile template for easier phone/tablet use. Along with this (since you can't see the sidebar on mobile), I wrote an "About" page to consolidate my various directories and categories. This can also be handy for visitors using computers, of course. Especially if new readers/viewers discover my ongoing Twin Peaks work this summer, I hope a few will explore some of the other stuff I've been up to over the past decade. This is the best way to do so:


See you on Sunday.

Twin Peaks: The Return Part 4 - "...brings back some memories."


By now, Twin Peaks: The Return has settled into a groove of telling several stories, each involving familiar characters from the old series and a central hub (Cooper's disappearance). Whether it will stay in this mode or not, this is the most conventional hour so far - if you can call a TV episode conventional when it includes a man transplanted into a lookalike's body who is so unfamiliar with human ways that he drapes a tie across his head like a bonnet and eats pancakes with his fingers, several minutes of a man in the woods spray-painting hanging shovels gold, and a long parodic beatnik monologue from Michael Cera playing a Wild One knockoff who for some reason has taken Marlon Brando's last name rather than his parents'. His parents, as we all suspected, are Andy and Lucy but I don't think anyone predicted the apple would fall this far from the tree (while still remaining just as lovably goofy in a different way). The actors all look like they wanted to burst out laughing, and I sure as hell did. Incredibly silly? Maybe, but it was also one of the funniest things I've ever seen on Twin Peaks.


Twin Peaks: The Return Part 3 - "Call for help."


Several weeks ago, revisiting Mark Frost's book The Secret History of Twin Peaks, I came across a reference to "the Brothers Grimm -- who I've since learned drew inspiration for their stories from real events in their own dark woods..." Clearly a throwaway line, this nonetheless got me dreaming of some sort of Twin Peaks/fairy tale crossover. And, in a way, that's what we get in this episode. Cooper, sent hurtling through outer/inner space by the arm/tree doppelganger (I think), arrives outside of a tower surrounded by tumultuous seas, draped in a purple haze. Inside the tower he finds a woman with her eyes stitched shut, sitting in front of a fire as an ominous force bangs on the door or the wall of this room. She seems to be locked in here by a monster, a monster who must not be allowed to meet the visiting stranger.

Twin Peaks: The Return Parts 1 & 2 - "My log has a message for you."/"The stars turn and a time presents itself."


High in the skyline of New York City, ignoring the blinking lights of Manhattan to focus his attention on a box within the room, a young man waits patiently for something to happen. The box is some cross between a sophisticated scientific experiment, characterized by advanced technology, and a magician's crystal ball (closer to a crystal cube), summoning presences from beyond. He's been told to expect an apparition inside this framed glass, and has even learned that others witnessed this visitation themselves while refusing to pass along any details. Perhaps the vision must be experienced personally to be understood. When ..."something" appear, pacing inside the frame like a prowling lion before leaping violently toward the screen, the watcher releases a loud yelp and jumps from his seat. It is happening again.

Unfortunately, no cute, curious girl arrives with a tray full of coffee to keep him company (she's my favorite new character so far - I hope she's ok though that's an awful lot of blood). On the other hand, he can count his blessings: the fantastic, ferocious specter does not escape its cage. Or does it? Remaining physically trapped within its frame, it nonetheless insinuates itself in his, or - why continue the conceit? - my imagination. As I watched the premiere of Twin Peaks: The Return in a friend's Brooklyn apartment, the image of a character gazing at, and recording his experience of gazing at, a giant glass box (not a television in his case, but some sort of teleportation device) certainly felt like a bit of a funhouse reflection. And I would imagine others, watching in places more geographically distanced from Manhattan than me, could also taste the resonance.

It would be difficult to imagine a scenario - urban, high-tech, sci-fi - further away from any preconceptions we might have had about Twin Peaks going in, yet somehow it perfectly encapsulates the experience of watching it.

Anticipation of Another Place: Speculating about Twin Peaks: The Return w/ Obnoxious & Anonymous


The video below includes some discussion of potential spoilers. In fact, if you don't even want to see pictures of cast members, aside from Cooper (probably a lost cause at this point!) don't scroll down since the video's thumbnail includes some images of that from trailers and official images released by Showtime.

Nearly three years ago, the first podcaster/YouTuber to invite me onto his show was Cameron Cloutier of Obnoxious & Anonymous. Back then we had no idea the series would ever return. It's appropriate that now, on the eve of new Twin Peaks, my final appearance to be released before the premiere is this episode of Obnoxious & Anonymous. We recorded it on short notice the other night but were able to conduct a long chat about various aspects of the series - rumors of how it might begin and what it might include, our hopes and fears, what the reaction will be like, what the town will be like, and what role Laura Palmer will play.

I may publish one more post, a final look back and forward before our conception of Twin Peaks changes forever. Then again, I'm going to be extremely busy for the next few days so I may not. Either way, for highlights of everything I've ever written, edited, recorded, or otherwise published about Twin Peaks, check out Sunday's round-up.

TWIN PEAKS & David Lynch reading / viewing / listening on Lost in the Movies

(picture from Variety)

^ Top 25: My best work on Twin Peaks ^

With a week to go until Twin Peaks: The Return hits Showtime, and my character series on pause till the summer, it's a good time to round up some of my past work on the original 1990-91 series and 1992 feature film (Twin Peaks: Fire Walk With Me). I will be writing about the premiere immediately after it airs next Sunday (as I will for every subsequent episode); until then, you can get your Twin Peaks fix with these pieces.

Search This Blog