It had a lot of good lines:
"Jade give two rides",
"F**k Gene Kelly, you Motherf*****r",
"Diane (slow turn around)",
"We are the 99 percenters and we are s**t on enough"
All brought big smiles to my face. "Jade give two rides" made me laugh out loud.The only bit that really grated for me was the extras acting when the kid got run over.
I thought the actual crash was horrifying and very, very effective but the van driver (who waved them across) was a terrible actor, the second he put his head in hand with no real emotion, I was taken out of the moment. It then made me look at the rest of the on lookers and it suddenly turned into a GCSE theatre studies project.Other than this scene I found it a pretty good episode, not the best to be sure, but solid.
I was also a bit disturbed by the acting in that scene. It might have been better if they just stood there doing nothing at all. But that's the only thing I didn't like this week. =)
I enjoyed this episode as much as the others and rewatched it. Of course I would like more progress in the story because then there is whole week of waiting for next part. Thanks to it we can meet here and elaborate about each. There are many unanswered questions but still 12 episodes ahead so a lot of occasions to meet :).
Lynch likes to "steal" screening time with "unnecesery" shots (for example looking for apartment keys in episode 1 etc.) but it defines his style. It wouldn't be David. I guess that's why he wanted to abandon this project before final agreement with Showtime. Thanks to it we can enjoy 18 episodes instead of 9.
A couple of points:
I posited a theory on the Part 5 board regarding the blue key. At the time, I thought that the whole "Dougie" plotline was an extended dream sequence and that the "real" Coop is still in the lodge. I still think this is the case. The One-Armed Man tells Coop to wake up. Coop can't wake up until he solves the mystery in the dream world that will help him escae the lodge.
Now, to the criticisms of the show so far. It's not perfect, but I'm enjoying it. Sometimes the pacing may be too slow, but that's Lynch, I suppose. The extra locations are a bit problematic. It's hard to recognise the show as being "Twin Peaks" when a lot of it takes place outside the town. Part of the original charm of the show was that Twin Peaks existed in a different time and place from the wider world. Hopefully the focus will return to the town.
Lastly, my own criticism. After the horrid-looking Inland Empire, I was happy to hear that Lynch wanted to return to film shooting. When it was announced that the show would be shot digitally, I hoped that the feel and look would be flattering to the material. Personally, I loathe and despise digital cinematography. To clean, too clinical. Too video-like. The look of new TP was extremely jarring at first and although I have become more used to it, it still doesn't sit right. Like when Peter Jackson did The Hobbit at 48fps, the illusion is shattered and the super -clear picture feels like you're looking at actors on a set. Like an expensively-shot behind the scenes DVD extra. I tried, I really did, but I think shooting on digital was a mistake.
My thoughts exactly. I also think the world of DougieCoop isn't real either. Noticed that no one notices his odd behaviors, not even his wife, and she admitted last episode that these have been going on for sometime. Yet somehow Dougie is able to having a stable career, family, etc.
Ever since they showed DougieCoop I always thought that he must've been trapped in a world like "The Truman Show." Too good to be true for real. Thus, I think the real Cooper has been in a comatose stage ever since the events of S2 finale and MIKE's calling him to "wake up...Don't die" (like speaking to a comatose patient) seems to reinforce this as well.
She was going to take him to a doctor though. It must have been for his behaviour?
David doesn't do simplistic "it was all a dream" type stories.
I wouldn't say that he has ever done anything that could be described as "simplistic", but imagined lives lived inside dreams are a recurring theme in Lynch's work. Mulholland Drive and, to a lesser extent, Lost Highway are built around this concept.
They don't quite stray into Bobby Ewing territory, but they're not a million miles away, either.
Well, Lost Highways could be read as being mostly about identity (like much of Lynch's work) and how certain key-events shape your life and force you to regress/progress, while the most accepted interpretation of Mulholland Drive is (I think) that it is a sort of deathbed dream, a twisted version of the "seeing your whole life when you're dying" but, yes, you have a point there - I wouldn't put DL in the same sentence with Bobby Ewing, as I think the level of complexity does put him "miles away", but I definitely see where you're coming from.
It had a lot of good lines:
"Jade give two rides",
"F**k Gene Kelly, you Motherf*****r",
"Diane (slow turn around)",
"We are the 99 percenters and we are s**t on enough"
All brought big smiles to my face. "Jade give two rides" made me laugh out loud.The only bit that really grated for me was the extras acting when the kid got run over.
I thought the actual crash was horrifying and very, very effective but the van driver (who waved them across) was a terrible actor, the second he put his head in hand with no real emotion, I was taken out of the moment. It then made me look at the rest of the on lookers and it suddenly turned into a GCSE theatre studies project.Other than this scene I found it a pretty good episode, not the best to be sure, but solid.
I was also a bit disturbed by the acting in that scene. It might have been better if they just stood there doing nothing at all. But that's the only thing I didn't like this week. =)
David Lynch directs their performances however, it is all an intended part of the experience. Their reactions do seem off, and to me this adds to the sadness and horror of the scene.
David doesn't do simplistic "it was all a dream" type stories.
I wouldn't say that he has ever done anything that could be described as "simplistic", but imagined lives lived inside dreams are a recurring theme in Lynch's work. Mulholland Drive and, to a lesser extent, Lost Highway are built around this concept.
They don't quite stray into Bobby Ewing territory, but they're not a million miles away, either.
Like comparing a McDonald's burger with a gourmet meal at a fine restaurant. They ARE a million miles from "Who Shot J.R." - Mulholland Drive is not "It was all a dream." Nor is Lost Highway.
Trying to find keys for the apt. ep. 1 - Instead of every such scene done for film/tv, he doesn't show the cops quickly getting them & jumping straight inside it. We get to feel the cops frustration of hunting down someone who has them, and then FINALLY the ditzy neighbor remembers she has keys to it. This is like a real-life experience, and also subtly taunts us like Bob, what will we see inside?
Fire walk with