I'm not sure if it is in this case (and I'm honestly not trying to be arsey, but I think there's a couple of explanations...)
She was sitting at a table with no means of getting herself away, if she was disabled. Having worked with students who needed wheelchairs or walking aids, I was paranoid that they were always within reach 'just in case' of fire, flood, or me being struck by lightning. So I wouldn't assume that she was unable to use her legs.
Maybe she crawled 'cos she felt so badly treated by the thugs who just lifted her up & moved her? Maybe she didn't stand as that may have been seen as a challenge to them - she'd rather crawl away & forget about it.I'm just not sure it points to her being 'Linda' - especially at the Roadhouse, where reality seems to slide about a good deal.
that is right: we also saw the deceased Renault in there, etc. Maybe it is only a surreal kind of channelling with Coop's crawling, and the entire bar is a strange spot. So crawling could be part of that realities surrealism.
My big problem in watching this series is that my mind always goes to mulholland drive / inland empire / lost highway where nothing makes sense but then u unlock 1-2 scenes and suddenly every single scene/person/abstract randomness becomes completely logical and perfectly fitting within the big plot's realm. Its like ur mind clears up and suddenly u can see. I have noticed that lynch plays a lot with the apparent, something that is right in front of you, screaming about what it is when you, having been manipulated by other scenes before (their mystical allure mostly or rhythm), do not see it for what it is.
I assumed - wrongly I guess - that lynch was doing exactly the same "its right in front of you" thing with the crawling girl (of course its not the first thing that makes me assume this).
I don't think she was disabled. She WAS very upset, and not just because she was displaced from her table.
And, while I think these men were boors, one person at a four top in a crowded bar, "I'm meeting someone"? Rude.
And who is Linda? She was married to Paul. OR WAS SHE???
I don't think she was disabled. She WAS very upset, and not just because she was displaced from her table.
And, while I think these men were boors, one person at a four top in a crowded bar, "I'm meeting someone"? Rude.
And who is Linda? She was married to Paul. OR WAS SHE???
Was it still Paul by then?
Sort of, yes. I think the narrative technique has been mirroring Coop's progression. So we are all Dougie-Coops. Once he's rediscovered his (I)dentity, then reveals and confirmations will begin to happen more frequently.
This narrative (and its effect to us) resembles the experience of someone who can't tell what is real and what is not, doesn't know who is who and doesn't know what his direction is. This could be Dougie's experience of reality. Its the same narration simulation of the protagonists' senses like in other lynch films. If thats the case, i doubt things will ever start making sense.
The only difference is that the series lasts 18 hours and, unlike his films, it wont be easy to brush through all this material and find the usual unlocking scene that helps in understanding the big plot.
I don't think she was disabled. She WAS very upset, and not just because she was displaced from her table.
And, while I think these men were boors, one person at a four top in a crowded bar, "I'm meeting someone"? Rude.
And who is Linda? She was married to Paul. OR WAS SHE???
when is it mentioned that linda is married to paul? (audrey's paul?) i dont remember that. the only ref i remember of linda is from mickey (walking disabilities, etc). considering he is a young guy, i imagined her young too.
A thing abiur Charline Yi... I was super excited to see her in the cast list back then because I love her performance in the excellent kids show Steven Universe as the voice of the Ruby line of living gems. Yes, Ruby. All of her characters are called Ruby in it. How about Ruby is just her nickname in Twin Peaks? Maybe her real name's Linda.
Tbis is just a theory. My guess is that she's just one of the random characters in the booth series that we'll never see again. Maybe Lynch offered her to choose her name and she went for Ruby because she likes the show?
ps: sometimes, convenient coincidences are just what Lynch calls happy accidents.
Sort of, yes. I think the narrative technique has been mirroring Coop's progression. So we are all Dougie-Coops. Once he's rediscovered his (I)dentity, then reveals and confirmations will begin to happen more frequently.
This narrative (and its effect to us) resembles the experience of someone who can't tell what is real and what is not, doesn't know who is who and doesn't know what his direction is. This could be Dougie's experience of reality. Its the same narration simulation of the protagonists' senses like in other lynch films. If thats the case, i doubt things will ever start making sense.
The only difference is that the series lasts 18 hours and, unlike his films, it wont be easy to brush through all this material and find the usual unlocking scene that helps in understanding the big plot.
We should also maintain an awareness of Mark Frost's involvement though. There is a traditional linear narrative here, IMO, that was deconstructed and then reconstructed by Lynch (and perhaps Frost) for the film. It isn't quite like a solo Lynch film or a Lynch and Gifford collaboration.
Have you ever been so overwhelmed with emotion (nervousness, grief, shock, etc) that you felt weak in the knees or actually fell to your knees? Maybe she was afraid her legs would give way if she stood up.
It crossed my mind that she might be paraplegic or something too.
Or the whole thing could have been metaphorical.
*shrug*
Starting to wonder if these vignettes at the RR aren't meant to be interpreted by your own emotions. They're the times when Lynch can be free to let it all go without a need for consequences, so he just goes for improv and all. That one scene obviously touched many of us for different reasons. I like that. (I'm still pretty sure we won't see Ruby again.)
Or, she could just be too drunk to walk. Anyhow, she looks quite young; not what I'd immediately think of when someone mentions "Disabled Veteran".
A general thought regarding the show turning us all into paranoid symbol hunters...
Maybe that's the idea; an enhancement to the Twin Peaks experience. You don't just watch it, you feel it.
Honestly had a totally different emotional response to that scene. I'm probably waaaaaaay wrong about this, but with all of the seeming nods/hat-tips to directors like Stan Kubrick and other artists, I thought perhaps her placement in that scene was envoking what some film analsysis has suggested was ole Stan's penchant for subconsciously commenting on the plight of Native American peoples at the hands of early American settlers.
Yes, I know the actress in question was not Native American, but neither was Shelly Duvall in "The Shining" or, for that matter, any of the Vietnamese depicted in Full Metal Jacket, both of which, it is theorized, contained suggestive messages about the above.
In Twin Peaks we see this play out in an oddly more obvious fashion; we have Lucy commenting to Hawk about his heritage, we have all of the Native American themed imagery at the Great Northern and elsewhere, and we have Wally Brando commenting on the arrival of the Lewis & Clark Expedition, which is further discussed in the Secret History of Twin Peaks.
So to me, this young, seemingly vulnerable girl minding her own business who gets forcibly removed from her location by two aggressive Caucasians, onlyl to crawl along and suffer in a sort of out of sight/mind manner (at least with respect to the other patrons) may have been a statement about how the natives got kicked off their land without much care.
Of course, I may have simply eaten some bad beef at supper. That her credited name was "Ruby" seemed to be just another obvious connection to the whole Wizard of Oz theme going on (Judy Garland, this possibly being a dream, etc.).
I kind of like what this person on Tumblr said about it:
"I find myself just fascinated with Ruby, the screaming girl in the Roadhouse. I feel for her. She’s just so invisible to everyone around her. Petite and unassuming, huddled into her booth. Into her prim sweater. When the pair of bikers approach her, she acts like she has to apologize for existing. For taking up what little space she occupies.
“I’m waiting for someone,” she says. She says it like her being there isn’t enough. Someone else needs to be involved to justify her presence.
And they just lift her like she’s weightless–like she’s nothing, and just deposit her on the floor. To the people around her, Ruby barely exists. Those two guys joke and laugh in the booth seconds later–they’ve forgotten she was ever there.
And Ruby can’t stand up. She’s too overburdened. Everything has been pushing her down–you can sense it’s been like this her wholelife. She tries to crawl away from the shame of it. Of being nobody. Away from those guys in the booth laughing and having fun, like everyone else but Ruby.
She’s swarmed by people. Lost in a sea of legs. She starts to cry. And still no one notices her. No one reaches down to lift her up, or asks her what’s wrong.
It’s like the dark woods–legs like tree trunks rising up unfeeling in the night. It’s the horror of Twin Peaks, played out in miniature. The callousness and cruelty of everyday people–the casual dehumanization happening invisibly around us.
“I’m waiting for someone,” Ruby said. She is. She’s waiting foranybody–anyone who can really see her. But no one comes. No one cares.
It’s a breaking point. She screams. It reminds me of Laura’s screams, in the lodge. No one really saw her, either. No one reached out to help. So there’s nothing left to do, but scream.
They’re not screams of pain, really. Or fear. Or even rage. It’s all and none of those–just an overwhelming rush of feeling. A primal rejection of the smallness and insignificance of the self. I’m here,they say. I matter. It’s the need for tenderness, twisted and pent up and forever denied."
(Copied and pasted because you have to have an account to even look at some Tumblr accounts now.)
It was his plan all along since 1990, he wanted us all to go and do Yoga. Namaste, Welcome to Twin Peaks.
Honestly had a totally different emotional response to that scene. I'm probably waaaaaaay wrong about this, but with all of the seeming nods/hat-tips to directors like Stan Kubrick and other artists, I thought perhaps her placement in that scene was envoking what some film analsysis has suggested was ole Stan's penchant for subconsciously commenting on the plight of Native American peoples at the hands of early American settlers.
Yes, I know the actress in question was not Native American, but neither was Shelly Duvall in "The Shining" or, for that matter, any of the Vietnamese depicted in Full Metal Jacket, both of which, it is theorized, contained suggestive messages about the above.
In Twin Peaks we see this play out in an oddly more obvious fashion; we have Lucy commenting to Hawk about his heritage, we have all of the Native American themed imagery at the Great Northern and elsewhere, and we have Wally Brando commenting on the arrival of the Lewis & Clark Expedition, which is further discussed in the Secret History of Twin Peaks.
So to me, this young, seemingly vulnerable girl minding her own business who gets forcibly removed from her location by two aggressive Caucasians, onlyl to crawl along and suffer in a sort of out of sight/mind manner (at least with respect to the other patrons) may have been a statement about how the natives got kicked off their land without much care.
Of course, I may have simply eaten some bad beef at supper. That her credited name was "Ruby" seemed to be just another obvious connection to the whole Wizard of Oz theme going on (Judy Garland, this possibly being a dream, etc.).
Great point about the natives and the settlers. Amazing mise en scene deconstruction!
You always make excellent points yet they seem to be lost inside a comment that is often very long (and post-modernish in structure). Only saying cause its a shame. More people would engage with your comments (and learn a lot) if they were a bit simpler/cleaner.concise in form.
Fire walk with