Most amusing one is the people trying to solve the code in the glitching aircraft windows. God love their effort, but it's hilarious.

Hidden message in one of the Lynch/Frost end prod caps. Same episode as the plane thing iirc.

It's all purposeful imo. Certainly the plane windows and prod cap are deliberate. Most of the glitches are blink and you miss them sort of things, but they're all there because they were put there.
My favourite effect were the shonkiest looking ones. Imo if an effect doesn't look like Lynch made it at home in his garage, then it's just not right.

g.man wrote:

Most of the glitches are blink and you miss them sort of things, but they're all there because they were put there.

I'm starting to think I missed all of them, I don't remember seeing anything weird in Ed's place, and only just got an idea about which airplanes you were talking. (The ones the fbi use to visit evil Cooper right?)
Best thing is, even after reading this, it doesn't feel like I actually missed anything, and gives me something to look out for in a re-watch. I've only seen the first two seasons once, about a year ago.

(and thanks for the blu ray tip G, seems hard to find and $100+ in the US, and around €60 in NL, it's region locked though so might get a ps4 first. Not sure if we'll buy that here or in NL).

I'm still wondering why this season felt so much more violent. The youth were all kinda awful, like Brooks already mentioned, but also the shooting at the RR and the kid throwing up in the car are some things I keep thinking about.
Could that be because the world was out of sync / had too many versions of the same people. Who knows? It was nice to have television like this for a couple months.

There are clearly some intentional glitches, but people do love to overthink things though.
The customers changing between shots in the RR I don't believe was a scripted thing, but Lynch has a habit of being opportunistic with things that naturally occur when making a film.
There's a whole thing about Cooper's FBI badge appearing and disappearing depending on the scene. I think that's all bollocks too. Scenes were clearly shunted around between episodes in the edit, because that's what happens when you edit a massive project like this that doesn't have a proper screenplay and contains multiple plot threads. If I were to hazard a guess, the FBI badge problem stems from the rather obvious decision that to have Cooper turn up as Dougie in Vegas sporting an FBI badge would be problematic to the narrative, so they just lost the badge to make things simpler for the story. This only becomes a thing because in the opening Cooper goes from not having the badge when the giant tells him about Richard & Linda, to having the badge when he meets Naido and leaves the lodge, but doesn't have the badge when he appears in Vegas as Dougie. I'm inclined to believe that stuff like that is all just part of the filmmaking process, but because it's Lynch, people look for meaning where there is none.

There's a few moments where character's eyes blink in reverse. Sonny Jim apparently does it a few times.

ANYONE SEEN BILLY

Tempy wrote:

The only thing that isn't to taste for me is the prevalence of violence against women. I get where it comes from, and what Lynch uses it for, but it still sticks in my craw.

I'm not sure, unfortunately, you can really grapple with the subject of modern trauma as consistently as he's wanted to his whole career without ending up gendering the exercise. At least he's innocent of victim-blaming and his women aren't sideshows.

And when they explicitly are 'sideshows' they're really fucking weird, like the casino trio.

I'm not buying any of that.

Aye, same sort of level of tomfuckery. S&S could have been a contender if not for the student budget. Long history of this sort of weirdness on tv, and I don't doubt Frost has dipped his bread in a fair portion of it when it comes to inspiration.
If anyone is the real hero of Twin Peaks it's Frost. Show would never have amounted to a hill of beans without his massive input. Lynch is the baker, messing with Frost's recipe.

GOOD MAN

Hey look if we're at the sharing hawt takes offa Medium then

Actually I do quite like this one's attempt to place Peaks in the context of soap opera "it was allll a dreeeaaam" trope history and audience expectation.

So I watched FWWM again last night to refresh after not seeing it for god knows how long.

It's a piece huh. Very dark and nasty, and it introduces a lot of things that after The Return don't feel new, but I can see why people loved/were maddened by it.

The main thing that stuck out for me, and I think is key to my interpretation of Twin Peaks, is basically antithetical to Jiao Dai, or understanding Twin Peaks. Which we are going to talk about.

When Jeffries comes into the office and is caught walking past Cooper on the CCTV, he goes on to ask if people know who Cooper is. For me this is such an important scene for the way I understand the show. An image of Cooper is trapped on the CCTV and Jeffries walks past. We already know Electricity is a big link to a lot of the goings on in the Lodges and TP. As an aside Jeffery Sconce wrote a great book called Haunted Media about the weird liminal other world that TV and Radio create in this swirling electronic force, which kind of predicted stuff like Ghost in the Shell and the internet in general (at least as another liminal world). 

Double Coop (via the CCTV screen) and Jeffries questioning of Cooper happen pre-Palmer murder, but I think the most important thing to understand, for me, is that the Lodge is outside of our time and space in a unique way. Much like Television, we can see events out of sequence. Jeffries has already seen Coops doppelganger, hence his frenzy and questioning who Coop is. The image of Coop in the CCTV is foreshadowing to the Coop, but as a viewer it's already happened. To the Lodge, it has already happened. I don't want to conflate the audience and the lodge, but I do think time in the Lodge in Twin Peaks is able to impress change in a non-linear sense - we see this with the Finale of the Return. I think people taking thins literally and in a linear fashion are shooting themselves in the foot with regards to understanding a lot of what the show is pushing.

Lastly, I am now more than happy to understand Signs and Symbols - and all that semiotic Jazz - on a different level. People tie themselves in knots over the Owl Cave Ring and its function. For me, it is now just a symbol. It's a link to the Black Lodge. What does it do? Who knows. I doubt the ring we see is the same ring every time, or even the same item that we see as the ring each time. Maybe its function is interred by the owner at the time, maybe it's down to the person perceiving it at that. More important than its plot function is what it is a sign of - and I think that's fairly static. 

Unpicking Twin Peaks is impossible and I guess I am not trying to be didactic here, but instead just offering what I find helpful to enjoying the ride. I can't stop thinking about this damn show, but the more I think, the less I want a neat bow, and the less I think it's possible. It will be entertaining to watch people trip over themselves to argue various cause and effect, when I think these two elements: the non-linear effect of the Lodge on the real world, and the multiplicity of function of both items and people (See Laura/Spirit Laura/Angel Laura/Bad Laura - whatever) is purposefully vague, and scuppers so many people attempting to force literalism on Peaks.

Absolutely, a lot of it was back filled but in a way that I still think makes sense. It slowly elevated itself from something obsessed with the mundane to something approaching the cosmic, at the same time Frost and Lynch were growing as artists.

Man I really hoped Room 237 would put a stop to these for good.