I think we should prepare ourselves for the possibility that the end of The Return could be extremely shocking and difficult to watch. Considering that David Lynch has been given free reign here to do whatever he wants, and considering everything we have seen so far, the ending of The Return could actually end up being too much for some people. And I mean beyond the insanity of Part 8.
I imagine all the most intense moments from this season so far, all thrown together at a wall, and then our faces forcibly smashed into that wall.
I don't think we're in for an easy ride at all. I think we're in for a mindf**k beyond anything we have ever seen.
One thing's for sure, we'll all be talking about it for a long time afterwards...
I've expected - and hoped for - nothing but an intense ending. Anything, absolutely anything at all will be better than a "meh" ending, or a "It was all a dream", or "You're all dead anyhow" ending.
We might actually need to change our underpants afterwards.
There was an alarming glimpse in one of the trailers of the camera is "super-shaky" mode going up some stairs, which some suggested were in the Palmer house. I think this will come into the final episode. I'm expecting Laura to be central to whatever happens. I am intrigued to know whether we will ever find out the secret that Laura has whispered to Coop - the reveal of the first series whisper is widely seen as a major mistake, and Lynch has been keen to eradicate the mistakes made in the second series.
Intense like the last image of the last episode of "The Sopranos" ?
Twin Peaks S03E18 : everybody in front of the entrance of the lodges, a black screen, thank you and goodbye ! 😛
I have a feeling we won't fully know what has happened and how things are at the end.
Things are out of balance. Order needs to be restored. That doesn't necessarily mean the "evil" needs to be destroyed, as that would only render us equally out of balance/order. It means that a harmony has to be achieved.
We might actually need to change our underpants afterwards.
.
Of course not
I have a feeling we won't fully know what has happened and how things are at the end.
Things are out of balance. Order needs to be restored. That doesn't necessarily mean the "evil" needs to be destroyed, as that would only render us equally out of balance/order. It means that a harmony has to be achieved.
I believe this is the central theme of our entire existence and also of this TV show we call Twin Peaks.
things are going to get heavy vortex and stuff.. My bet is after the climax is done it will come to a loop situation with old footage of "young" Cooper enter the town of Twin Peaks to solve a murder on Laura Palmer...
At the end of S3E18 there will be The Ultimate Cliffhanger: Gordon Cole crashing his forehead against a bathroom mirror reflecting Mother/Experiment, and shouting 'How's Diane??'
things are going to get heavy vortex and stuff.. My bet is after the climax is done it will come to a loop situation with old footage of "young" Cooper enter the town of Twin Peaks to solve a murder on Laura Palmer...
I certainly hope not. The "Mobius strip" narrative device (wherein the "end" is the "beginning," or rhetorically similar 'surprise ending' devices-- it was all a dream, we were all already dead, the narrative is itself a narrative nested within a narrative....) is SO PLAYED OUT(!) Witness the anguish of audiences with Damen Lindelhof's Lost finale and the outspoken, widespread repudiation of nearly ever film by M. Night Shyamalan post-Sixth Sense.
Mark Frost's stylistic development from gently pushing the envelope of conventional genre-TV writing (e.g., "Hill Street Blues") to the profoundly experimental Twin Peaks makes me hopeful that we won't see something Lynch all but perfected twenty years ago with Lost Highway resolve the narrative of the very collaboration that will likely amount to the capstone/magnum opus of Frost's and Lynch's respective careers.
Ambiguity is preferable, IMO, to all loose ends tied up by an arbitrary formal device. Indeed, ambiguity between opposing extremes and the interpretive contribution made by the viewer has been essential to Lynch's style since Blue Velvet ... What is morality, in practice, if not subjective decision making about right action in the world?
IMO, We've seen too many hamfisted imitations of postmodern/high modern performative experimentation in so-called "prestige TV..." Nevertheless, it seems viewers love "meta," fourth-wall breaking devices, I suspect, because they flatter one's egoistic/egotistical sense of one's own intellect in a "hot take" culture (Brecht and Kafka are rolling over in their respective graves...) I've been impressed and encouraged by how little bravado and posturing has been on display on this forum (though, admittedly, I stray that direction myself too often....it's seductive, to be sure, and it's a fair point for anyone who wishes to invoke "pot calling kettle black" here)...
IMO, The Return absolutely triumphs by defying the 'man-splaining' hermeneutic instinct, denying anyone the satisfaction of being "right" about a hot take while eschewing the superficial virtuosity of writing "mindbomb" narrative resolutions.
By contrast--and to my delight-- witness this terrific forum: all hypotheses, no real answers. So is life.
Indeed, Badalamenti Fan. It's why I try to phrase my theories and speculations in the form of questions as often as I can. Understanding this show means understanding that we may not understand it at all.
Fire walk with