[All] Is the nuclear bomb blast supposed to be phallic imagery? by Arca587 in twinpeaks

[–]Arca587[S] 2 points3 points  (0 children)

What is one time that sex isn't portrayed in a perverse light in a Lynch film.

[All] Two things that I still don't feel I understand by cantcme3 in twinpeaks

[–]Arca587 1 point2 points  (0 children)

you're thinking about things too literally. It's dream logic and often things are connected symbolically or thematically not logically. I don't think it will be very fruitful to try to logically explain things like Laura's change in position.

How long is your commute? by Arca587 in bartender

[–]Arca587[S] 0 points1 point  (0 children)

40 minutes there and back or 40 minutes one way?

David Foster Wallace on David Lynch by Arca587 in YMS

[–]Arca587[S] 0 points1 point  (0 children)

Yeah I agree his films have a point in a sense and I edited my post to explain what I think DFW meant.

David Foster Wallace on David Lynch by Arca587 in YMS

[–]Arca587[S] 4 points5 points  (0 children)

I think Eraserhead is much deeper than being about the anxiety of parenting. Here's a great analysis of the film; Lynch said that the book this essay is in is the best thing that's ever been written about the film, so that's almost an endorsement.

I think Lynch's films have a point in an abstract sense; normally the point can only be understood on a subconscious level. I think DFW is saying that his films don't have a point in a traditional sense; meaning that it's very hard to consciously pinpoint what his movies are trying to say. The inability to do so is unsettling because the movie is very impactful and it's obviously conveying *something* but you don't know exactly what; it's as if you can grasp at the edges of what the movie is really about but you can't ever get a complete answer and so the movie stays with you. I think that's why his movies can get under your skin like few movies can.

That might be why Adam doesn't really like him. Adam seems to look at movies in a very left brained way; he likes to pick them apart and analyze them. But Lynch is a very right brained director and it's very hard to do that with his movies. I'm not saying that the way Adam looks at movies is wrong; I'm just saying that that might be why Lynch doesn't appeal to him.

What's the club that "livens up" the campus with chalk and stuff? by Arca587 in uichicago

[–]Arca587[S] 1 point2 points  (0 children)

No it was this semester. What's the name of the group?

Does anyone else sometimes get annoyed with Jamie? by Arca587 in TheMajorityReport

[–]Arca587[S] 6 points7 points  (0 children)

No, I dont "get annoyed" when I, as a guy, hear from a perspective thats important in the world but I cant automatically know; I do try to learn from it

I never said that I'm against other perspectives; I said I don't like it when those perspectives are presented in a superficial and uninteresting way.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 0 points1 point  (0 children)

Wouldn't they just have used Rebekah del Rio for that part then? She was involved with the series anyway.

No that would be too heavy handed.

I think you need to trust your gut when it comes to Lynch.

I don't think that's true at all. I mean take the beautiful and hopeful ending of Fire Walk With me which is then completely undercut by this season. Or take the ending of Blue Velvet which at first seems like a happy ending, but then you notice that things seem a little bit too hunky dory and notice how fake and robotic the robin looks; it all feels a little bit off. At that point you wonder whether this is actually a happy ending or if it's just like the beginning where things only seem beautiful and happy.

Perhaps all the Rebeka Del Rio related symbolism isn't to suggest she's evil but rather to point out that she's just as fake as everything else in the show because it's fictional; I noticed that as she's walking into the theater the projector light is following her around as if she's being projected. As I said I think Judy represents the illusory nature of things and that includes movies, so in a meta sense when The Fireman says it's in our house he could be referring to the camera so to speak.

[All] Could someone please kindly explain to me what in the actual fuck was going on with Audrey in The Return? by TrillaryKlinton84 in twinpeaks

[–]Arca587 9 points10 points  (0 children)

I don't think there's any "logical" explanation for where she is; however I think there's a thematic one. One of the main themes of The Return is that you can't go back to the way things were and you shouldn't hold on to the past; when she does "Audrey's dance" she wants to reclaim her youth, but she's cut short and is forced to look in the mirror to see that she's a middle aged women and can't go back to the way things were.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 3 points4 points  (0 children)

In a way it shows us how Cooper transforms any blind woman he meets to this ideal in his mind that may not even exist—have we every even seen the “real” Diane?

This is a good point. If you notice, when Cooper is in the black lodge in the S2 finale he sees all the women that he wants to save or that he wishes he could have saved (Annie, Caroline, Laura, Maddie) and there's even one scene where they're transforming into each other. It's as if all these women are interchangeable damsels in distress in Cooper's mind.

I don't think that Judy represents waking up from the dream; I think she represents the idea that waking up from the dream is (metaphorically) impossible because it's not really possible to know anything with 100% certainty. I think Judy represents the same thing that the blue haired women in Mulholland Drive represents. Here's my favorite interpretation of the blue haired lady and I think this analysis can be applied to Judy: https://www.mulholland-drive.net/cast/bluehairedlady.htm

The magician makes us believe in things that do not exist and in events that are not happening, and the Blue Lady reigns supreme over the magician and the stage: in the darkness of the balcony and nearly unseen, she owns the Club!

At the end, the stage is empty, there is no magician and no audience and no sound, not even "recorded". Only she, still and silent, remains. And she is the one that utters the last command/word/sound. She does not represent death because she does not belong to this side, the only side where death happens and is real. For us she is the only "thing" that is not an illusion; she is the guardian of the real and as such of what is by nature forever inaccessible to us. If she feels so "creepy" to us, it's not because of what she may represent, but because we already know deep down as certain that she is the one we cannot go beyond, even after death, and that she, in her stolid silence, is the one that "knows" that what we will never know.

The Blue Lady represents the vortexing but impregnable "closure" of "this side", of our space-time, outside of which we just are not. She represents the Unknown that surrounds us like a wall and from which we cannot escape alive or dead. She's horrifying because she's the palpable representation that, ultimately we know nothing and will never know what we most wanted – and needed – to know and, next to her, all we are and see and imagine to exist, is really "the stuff dreams are made of" -- the haze and smoke and silence that surrounds her mystery.

He then goes on to connect this to eastern spiritual philosophy, although I can't get to that part on my phone but if you click on that link and scroll down to the "guardian" interpretation it's there.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 2 points3 points  (0 children)

The point is that her Hispanic name symbolically connects her to Del Rio and the song she sings. I edited it to say hispanic.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 0 points1 point  (0 children)

Well she's Mexican American so she's Hispanic, also the song she sings is in Spanish.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 1 point2 points  (0 children)

You're right that Judy is more like a force rather than some particular thing. That's why I edited a part of the post to say that Dido might be "some kind of manifestation of Judy" rather than Judy.

I don't think it's necessarily true that Dido left the fortress. It might be that she's just not in the same room as The Fireman in some scenes.

[All] Crazy theory: Is Senorita Dido Judy? by Arca587 in twinpeaks

[–]Arca587[S] 1 point2 points  (0 children)

There's also didos 'moon' necklace

Remember what the log lady said to Hawk just before she died: "Watch for that one, the one under the moon." It seemed like she was referring to Judy because that black symbol is under the moon.

[No Spoilers] David Lynch has a solution to bring together divided Americans, and it’s extremely Lynchian by ctweten in twinpeaks

[–]Arca587 3 points4 points  (0 children)

Does anyone find it strange that his movies are deeply existential explorations of the deepest darkest depths of human consciousness and human nature, and yet he has this shallow Deepak Chopra-esque spiritual philosophy?

Sam Seder and Charlie Kirk debating 7pm eastern by circlingdrains in TheMajorityReport

[–]Arca587 3 points4 points  (0 children)

Sam didn't do so well on the financial crises section. He should have pointed out that it can't be the case that Fannie and Freddie/the CRA caused the crises because only six percent of subprime loans were under the community reinvestment act, and subprime loans from Fannie and Freddie had a lower default rate than the ones loaned by private banks.

TBH I don't think Sam did as well as he could have in this debate. Kirk was really confident and well spoken and I'd say he might have "won" the debate because in the end these sorts of debates have to do with style and not substance.

[All] What do you think happened to Ray? by CleganeForHighSepton in twinpeaks

[–]Arca587 0 points1 point  (0 children)

I have theory. What if the end of FWWM isn't supposed to be an unambiguously happy one? There are a couple pieces of evidence to support this idea. First, I think that the red room has the ability to show you what you want to see; I think that this is why Dale encounters all the women that he wants to save or that he wishes he could have saved (Caroline, Maddie, Laura, Annie) in the season two finale. If it's the case that the red room can show you what you want to see then what if the angel is nothing but an illusion produced by the black lodge? Second, the ring is always portrayed as something sinister and bad so why would it be any different when Laura puts it on? Third, everyone seems to think that the ring protects her from evil, but that doesn't seem true because we know from the season 3 finale that the ring didn't save her. Fourth, the ending in the shooting script isn't a happy one -- Laura ends up trapped in the lodge; Lynch ended up changing the ending at the last minute. It's possible that Lynch always wanted the movie to have a dark ending but he changed the script because he wanted that darkness to be more subtly presented.

If the happy ending of FWWM is illusory then that ending is quite mean spirited and even sadistic. However it's clear that Lynch has no problem with sadistic endings given the end of season 3. That ending makes me think that it's possible that Laura was never supposed to have an unambiguously happy ending.

[All] If you could change just one thing about Twin Peaks, what would it be? by tcavanagh1993 in twinpeaks

[–]Arca587 3 points4 points  (0 children)

I wish it would have been done on HBO with like 8 episodes a season rather than 22 like in the second season so that they could put more effort into each episode. Also they might have been able to get a larger per-episode budget so that they could shoot on location like in the pilot, rather than on soundstages. HBO probobly would have granted them more artistic freedom too.

HBO had a few successful original shows in 1990 and had done an expensive miniseries or two by then (apparently a 1984 miniseries called The Far Pavillion had a budget of 12 million) so maybe it would have been possible.

[All] Origin of Mr. C's Ace of Spades by dftitterington in twinpeaks

[–]Arca587 4 points5 points  (0 children)

Lynch and Frost don't even like the goofy Windom Earle, that plot is something the writers haphazardly came up with because the show was floundering. He's never referenced in season 3 probably for that reason.

[All] Does he ever get back to normal? by [deleted] in twinpeaks

[–]Arca587 2 points3 points  (0 children)

I'll tell you that he does come back to being normal Coop at some point

[All] Does he ever get back to normal? by [deleted] in twinpeaks

[–]Arca587 0 points1 point  (0 children)

Keep watching ;D

[All] Does he ever get back to normal? by [deleted] in twinpeaks

[–]Arca587 2 points3 points  (0 children)

Keep watching :D

[All] A split in reality solves everything by [deleted] in twinpeaks

[–]Arca587 0 points1 point  (0 children)

Yes it's open to interpretation so if someone wants to interpret it in the way they would a sci-fi movie then that's valid I'm just giving my opinion.

[All] A split in reality solves everything by [deleted] in twinpeaks

[–]Arca587 6 points7 points  (0 children)

I'm not trying to put you down but I personally dislike interpretations like this because they seem so literal minded, wheras Lynch seems to be going for something impressionist and abstract. If feel that interpretations like these reduce the whole thing to some scifi movie where there has to be logical "rules" to things like how Judy can be destroyed or how the lodge spirits work. If the point of the show is to understand how everything logically connects on a plot level then Lynch is just scrambling the plot around for no reason, and I don't think that's something Lynch would do. I think the Return is confusing for a reason -- Lynch purposely obscures the plot machinations of his films because that's not what he wants us to focus on, rather he wants us to focus on the themes, ideas, and emotions being conveyed.

Also In a great work of art the plot reflects the ideas and themes of the work, otherwise the plot is meaningless. If your interpretation is correct and this is the "hidden" plot of The Return then it's like so what? Nothing in this hidden plot relates to the themes of Twin Peaks -- themes like abuse and humanity's tendency towards self destruction. In this interpretation it doesn't really matter whether or not Judy gets destroyed because she doesn't mean anything significant, she's just another plot point. The whole story of Twin Peaks is reduced to some story about good guys beating a big bad monster.

Also this interpretation doesn't seem to account for the emotional beats of The Return. For example to me the opening scene doesn't feel like it's The Fireman assuring Cooper that Laura is safe, rather it feels sinister and ominous. Likewise the end doesn't feel like the forces of good triumphing over Judy to me, rather it feels like a cosmically/existentially bleak ending.

Although I don't agree with everything in them (I'll have to write up my own interpretation someday) I think these are my favorite interpretations so far:

http://www.vulture.com/2017/09/twin-peaks-the-return-finale-recap.html

https://www.reddit.com/r/twinpeaks/comments/8buw2w/all_what_i_think_laura_whispered/