What was the point of showing her dying husband way back at the beginning of the series? What was to come of that? Are we just not supposed to see them again? And what the heck was the black box in Argentina? We have to get answers to these things right? We can't just be shown this stuff and forget about it. With Lynch, every single shot has purpose. Can anybody think of other red herrings that aren't answered? Like the 1-1-9 girl and the boy, and of course Candie. What the heck??
I know. I keep wondering how any of this is going to get "wrapped up," "resolved," "understood," or anything at all in the next 3 hours! SO MANY CHARACTERS! Is any of it going to make sense?
Black box supposedly in Argentina of course links with Philip Jefferies and Judy from FWWM narrative, but could just be code for one of them receiving messages, now doubt it's based in Argentina.
Yeah it's bizarre, why have the scene with Beverley and her husband at all? Although even if dying he seemed sinister to me. Maybe just because of the suspicion he had over her infidelity.
No idea.
I'd like an explanation about the Argentina box.
And the woman who texted "ARGENT" and made the box bleep.
I think we'll find out but it'll be a subtle mention that we have to work out ourselves.
Who did her allegiances lie with? If Ike the Spike killed her, Duncan Todd was to blame.
Still doesn't answer anything though :/
SOME kind of insight into the black box would be nice.
The others, I see less as "red herrings" than as signs that there is a larger story (or stories) beyond the edges of the screen.
Beverly is struggling, stuck in a marriage of guilt and obligation, and feels pulled towards Ben Horne, who is still trying to be a better person.
119 woman, as I have asserted elsewhere, is an emergency beacon, placed by some force from the other place (presumably the Black Lodge, given how ill-used she seems). Her poor son, I don't have an answer for, unless he is just part of 119's cover story (this, likewise, would make me think she is being used by the black lodge- I rather think she is a junkie in response to how she has been used). I HAVE wondered about that deck of cards on her table- is it the same deck that Mr. C's card is from?)
Candie. Oh Candie- what IS her deal? I have gone back and froth on whether she is a big deal, or mere Lynchian "candy". IT seems she is an orphan (and her narrative purpose might have been to humanize the brothers a bit) and a charity case. Beyond that, I have no prediction, other than that I will be surprised.
So I am with you here, but I KNOW that DL sees this world as having a life of its own, and I like the idea that we just get hints about what is happening beyond the limits of our vision.
What was the point of showing her dying husband way back at the beginning of the series? What was to come of that? Are we just not supposed to see them again? And what the heck was the black box in Argentina? We have to get answers to these things right? We can't just be shown this stuff and forget about it. With Lynch, every single shot has purpose. Can anybody think of other red herrings that aren't answered? Like the 1-1-9 girl and the boy, and of course Candie. What the heck??
Good questions. I'm afraid we're not going to get answers to a lot of them. Conversely, I think we may actually have already had answers to some of them, but they're answers in the Lynch sense of the word (which means we'll need to just work it out for ourselves).
The black box in Argentina (followed by that little orb) was probably Phillip Jeffries. That's just a guess, of course, but it's been a suspicion of mine since that scene, and I am more comfortable with it since we've seen that Jeffries is now no longer in human form.
As for the rest of that stuff? Am not holding my breath.
Becky, Steven and Gersten plot line has barely made any sense to me. Especially now that Steven has killed himself. Why are they characters of importance? (Besides that Becky's Shelly's daughter, and Shelly's current husband Red might be dealing drugs to Steven.)
Jacoby has vaguely influenced Norma and Ed getting back together which was nice, but doesn't really merit seeing his golden shit-shovelers twice, I think.
Who the fuck was Mr. Strawberry? Duncan Todd and his flashing red square?
The scene where some random woman had a sick passenger was hilarious, and worth the screen time IMO, even though it doesn't seem to have any relevance to the plot.
Wally Brando. Seemed a fitting child raised by Lucy and Andy.
Jerry and the weird noise at Ben Horne's office. I was gonna write also "Ben's assistant her husband in wheelchair", but after brief googling I realized they were Beverly and her husband! Goes to show how much of importance they must've had throughout the show when I can't even make a connection to them when browsing a thread named after them 😀
At this point it's more than baffling why Lynch insisted 18 hours of screen time instead of original 9 (IIRC) that Showtime offered them. He better have some serious aces up his sleeve for the last 3 hours.
Candie. Oh Candie- what IS her deal? I have gone back and froth on whether she is a big deal, or mere Lynchian "candy". IT seems she is an orphan (and her narrative purpose might have been to humanize the brothers a bit) and a charity case. Beyond that, I have no prediction, other than that I will be surprised.
That's a pretty good guess about Candie's purpose/role in the show.
There are various types of storytelling Twin Peaks adopts, some is not supposed to lead anywhere, except making a very big statement about reality in general. So they are random pieces that if seen together create a big picture.
For example: the 119 girl is probably an illegal resident of the empty-looking rancho rosa residential project. Along with the prostitute (who uses the premises for work purposes), they help Lynch in making a point about what Rancho Rosa is: the decadent and sad evolution of the American dream / American family. The 119 girl is a lost soul within this abandoned environment, in her own world, her story never evolves on the script (just like in real life it wouldn't, she doesn't have a future). She keeps yelling 119 cause she is on a mad trip. But on a symbolic/sociological level, this is a social class' or cast's scream for help that noone will ever listen to. Her small story is also one of the two extreme models of family, the other being janey-e who is over-protective to her son and superficial about the family life she desires. The 119 girl's son is completely unprotected. The comparison is cruel: both ways of being leads nowhere, people in both cases are lost in their own world. A nightmare and a plastic fantasy. One has no future (and no plot) and the other can only imagine a future that is unreal/ungrounded/material/soulless (and has a vividly colored dream-like plot). The extremes have taken over in describing what used to be called the "middle" class. Lynch shows that the middle class (the rancho rosa) has vanished. Its either an empty low or a fake high, somewhere else than where it was supposed to be.
Such scenes invite you to adopt them as possible plot-related and then drop them once u understand how they connect to the rest of the world Lynch has created. In most cases the way they are written and presented reflect the way their characters would be seen in the real world (a real janey-e would be observed by us - or would be invited in our lives - for longer periods while a 119 girl only briefly, or not at all) or how their characters would feel if they were real (janey-e's trip to life feels adventurous and long, 119 girl's trip to life is inactive and short) .
Regarding Mr Strawberry. I saw that as some deviant, illegal sex thing that the guy got up to. Mr C was blackmailing him about making his dirty secrets known.
Maybe Mr Strawberry was some online alias. Or a roleplay he did when he was doing something that would break apart his marriage if his other half found out.
That's how I took it. I'm not sure it needs a full explanation. We can imagine some pretty odd things about Mr Strawberry!
Regarding Mr Strawberry. I saw that as some deviant, illegal sex thing that the guy got up to. Mr C was blackmailing him about making his dirty secrets known.
Maybe Mr Strawberry was some online alias. Or a roleplay he did when he was doing something that would break apart his marriage of his other half found out.
That's how I took it. I'm not sure it needs a full explanation. We can imagine some pretty odd things about Mr Strawberry!
strwaberries appear in Gordon's dream (the cafes sign and name)
Becky, Steven and Gersten plot line has barely made any sense to me. Especially now that Steven has killed himself. Why are they characters of importance? (Besides that Becky's Shelly's daughter, and Shelly's current husband Red might be dealing drugs to Steven.)
Jacoby has vaguely influenced Norma and Ed getting back together which was nice, but doesn't really merit seeing his golden shit-shovelers twice, I think.
Who the fuck was Mr. Strawberry? Duncan Todd and his flashing red square?
The scene where some random woman had a sick passenger was hilarious, and worth the screen time IMO, even though it doesn't seem to have any relevance to the plot.
Wally Brando. Seemed a fitting child raised by Lucy and Andy.
Jerry and the weird noise at Ben Horne's office. I was gonna write also "Ben's assistant her husband in wheelchair", but after brief googling I realized they were Beverly and her husband! Goes to show how much of importance they must've had throughout the show when I can't even make a connection to them when browsing a thread named after them 😀
At this point it's more than baffling why Lynch insisted 18 hours of screen time instead of original 9 (IIRC) that Showtime offered them. He better have some serious aces up his sleeve for the last 3 hours.
i think the problem is that most of the audience has never engaged with a lynch film, they are not familiar in how to read what they perceive as random.
In a strange way, i often find myself agreeing with what u say: why the hell did lynch make this series. But I would say the same for all of his work. I never understood his persistence in making films for a broad audience (particularly the american market), one that has been rejecting his films since he started. It is a bit mazochistic on his behalf or overly romantic that some miracle will happen and all of a sudden the audience will be williing to dive in his universe and understand his code. I know no other auter so uninterested in finding their audience and building a relationship with them.
I don't get it. If this project was a film - or a series produced/marketed in Europe (like the Young Pope for example, an auteur, difficult to understand project that was a smash hit in Europe), it would have found its audience and all parties would be happy.
I think it portrays a lot of other "stuff." Life happens, it goes on regardless of the chaos in any of those particular lives. This show is Twin Peaks: The Return, not Dale Cooper; The Return, just like the original was also named Twin Peaks, not Who Killed Laura Palmer. Lots of lives, lots a stories, maybe all tied together in some way, maybe not so much. The threads that weave these stories together are getting stronger and more obvious, but there may be lots of stories without endings. That's what happens, some stories don't end.
In one regard you are wrong, Lynch has found his audience. That is why this site exists. Lynch stopped courting broad acceptance after his first failed attempts as a 'director-for-hire'. He makes his art, and you either want to look at it or you don't.
Fire walk with