The whole point is that it's non-sensical, in a telenovela kind of way, so trying to make sense of it isn't misunderstanding the whole point ?
The whole point is that it's non-sensical, in a telenovela kind of way, so trying to make sense of it isn't misunderstanding the whole point ?
How do you know for certain that that is the whole point? Please point me to where Lynch has confirmed this, and where the signs point to it supposedly being non sensical?
Well, I thought it was very obvious, the whole comical effect of the situation is that we have no idea what they're talking about, and that what makes it so funny. Now, trying to make sense out of it means "not getting the joke". you're being rather matter-of-factly here requiring proof and evidence, which explains the fact that you took this fake mystery quite seriously. But honestly, you didn't get the joke I think, the point is that this endless chattering leads nowhere, but people waste most of their time doing it, most people's lives are absorbed with little stories that are not necessary. Most of us would be much happier without these little dramas, yet we cling to them. Lynch shows that beautifully, in a comical way. That's the whole point of these scenes. Trying to decipher them is absurd. Now if you need proof to be convinced, you won't find any of course, because, it's rather obvious, isn't it?
I like your interpretation, but I'm not 100% convinced.
Just to also explain that I'm not 100% convinced that there even is a mystery.
I personally didn't see the scenes as a joke. More a curiosity.
Maybe joke is the wrong word, but I tend to believe that The Return is a pretty bleak statement of today's society, unlike anything Lynch has done before. You have domestic violence, guns, crooks, liars, etc.... And I think these scenes just show how much of our potential is lost with trivialities. And Audrey ended up being caught up in that. That's why we don't know what Tina said, who is who, because it doesn't matter at all. It's just all pure negativity. And that's why these characters are only shown in one scene and never again, because it doesn't matter what they're saying and who they are, in 10 years from now, they'll be talking about similar stories involving different people, and this will go on forever until they die probably. That, I believe, is the point of these scenes.
I've been wondering if Billy is a member of "trouble" or another band? Bing is looking for him and he hates the roadhouse (as a gig?).
I'm intrigued with the idea that Charliw could be the uncle that may or may not have been in Megan and Tinas kitchen....
Wouldn't that make Charlie Tina's brother?
Or her husbands brother
What are the names of the guys that get into a fight while Audrey is dancing?
Could one of them be Billy?
Maybe joking in part. But I still have to believe that Lynch did all this name dropping for a bigger reason. There is at least some general schemata in the author's mind, but it may be fluid. We aren't supposed to be able to come up with a definitive answer. But I do think some of these ideas about the Roadhouse are the key.
I really doubt it, do you think the plot to Invitation to Love matters?
And notice how we see them all only once, it's because none of it matters.
Of course, Lynch and Frost, as writers, have to draw an outline of who is what and what happened, so as not to concentradict themselves.
I'm sure Frost wrote a story for Invitation to Love, he had to, but again, none of it mattered to understand Twin Peaks. There were some funny parallels at times.
Believe me, the Roadhouse is the new Invitation to Love, it cannot be taken at first degree, unless you don't see the irony of it, and trying to make sense of it is absurd, unless, like Lucy, you think the lives of Jed and Jared are worth talking about.
- I wouldn't have followed this series for decades if I thought that it was little more than nihilistic nothing matters stories. Of course there is irony but that doesn't sum it up. Irony has become a somewhat tiresome dated post modern concept that no longer creates great fiction or film. I have never perceived it as a very meaningful tool for understanding or interpreting Lynch films.
A poster named Jack Dean left an interesting post on the Roadhouse in late 2017. I can't find it now, but that is what I referenced regarding the Roadhouse.
There's no nihilim in Twin Peaks and its plot. I don't know what post moderm is, I don't use these concepts. Twin Peaks is not an ironical show at all. But Lynch has always used it at times to a comical effect, when Yuuki Nae in INLAND EMPIRE keeps adding one more creepy story to the other, talking about her friend with no vagina and a pet monkey, giving lots of importance to trivial silly stories while Nikki Grace (I think) is dying on the pavement, the disregard for death and the importance given to pointless tales is meant to be ironic, whether it's postmodernist or whathaveyou. In Wild At Heart, when the character played by Sherilyn Fenn is dying after the car crash, all she wonders about is where her earring is. I think the scenes at the roadhouse also play with that. Disregarding what's important and focusing on trivialities. It's almost as if Lynch was saying that this is a human coping mechanism. Maybe trying to find out who Billy is is a way to cope with The Return. Yet... it remains a detail.
Just to add that Lynch co wrote the script with Frost. And Frost loves an intricate story.
Could Billy possibly be the man who never met with Andy?
The reason I ask is because his truck was "stolen" by Richard Horne and then after he doesn't meet Andy and we never see him again. we just see some creepy shot of his house with the door open. This would makes sense that people would be looking for him. He doesn't seem like someone Audrey would be in love with but who knows?!?
That being said, I believe Audrey is not in Twin Peaks. If she was, Sheriff Truman would have gone to see her in regards to Richard killing the kid, no? Why does he go to Ben? I believe Audrey is not herself, and Charlie is her doctor. That is why he doesn't want to tell her "what Tina said". He can't tell Audrey that Richard killed a child and is on the lam.
She's in some kind of fantasy world in her head. It's like she has vague access to news in the town and is getting it confused with this alternate reality she has created for herself in her mind. Maybe in her mind Billy is what she is calling someone else cause she can't fully remember his name (ahem, JJ wheeler). That could explain why when she is at the roadhouse dancing, and the fight breaks out, she snaps out of it and is in a white room.
Just thinking out loud...
Fire walk with