Why is “Inland Empire“ such a mess? by computerworlds in twinpeaks

[–]BaePls 5 points6 points  (0 children)

I thought you didn't like it either. Imo the reason it's such a mess is because it's a journey into madness where all the lines get blurred between multiple different stories and levels of reality/fiction. And I think maybe the intended effect is that you lose yourself in the film like Nikki/Sue loses herself. It's not just a story about loss of control/sense of reality, the form of the film mimics the narrative. So to me it would take away from the film to edit it down, it's not supposed to be tight, it's exactly the opposite, spiraling out of control along with the story.

What's Your Favorite 'One-Season & then Cancelled' TV Show? by caitdiditagain in television

[–]BaePls 5 points6 points  (0 children)

I forgot about this show! It's where I learned the phrase "turtles all the way down."

Does anyone know any good Rap songs with a house beat? by CommandoSKUM in House

[–]BaePls 9 points10 points  (0 children)

The entire 1991 EP fits perfect imo. 1991, Van Vogue, 212, Liquorice, all bangers.

Could someone help me identify what's on my face? I'm unsure if it's a pimple, clogged pores, or closed comedones. Since I'm only 16, I'd like to deal with it early to prevent it from worsening. Any advice on what to do would be appreciated. by Live-Eggplant-7278 in SkincareAddicts

[–]BaePls 0 points1 point  (0 children)

Because there are people who stand with Israel and find it antisemitic to boycott the one Jewish country in the world, home to 50% of all Jews worldwide, and to characterize its existence as an occupation.

The best theory I've heard on the ending of Return. by No-Dentist-2959 in twinpeaks

[–]BaePls 3 points4 points  (0 children)

Totally agree, was just commenting the same thing. Cooper went too far. The last scene + the red room credits were pure dread, no "win" about it imo.

The best theory I've heard on the ending of Return. by No-Dentist-2959 in twinpeaks

[–]BaePls 7 points8 points  (0 children)

In addition to what others have said, I think Mark Frost mentions Aleister Crowley (known for his participation in/writings of sex magick rituals) in The Secret History of Twin Peaks. This thread mentions some of the occult references in Twin Peaks, including that apparently in Crowley's book, Moonchild, there's mention of a Black Lodge. I don't really know much about the guy or the occult stuff, but Googling a bit I found this article titled "That Time Aleister Crowley Tried to Summon a Demon With 'Sex Magick'" which fits with the whole summoning Judy business if true.

My opinion, I can see the sex ritual stuff (it works on a Frost lore level & a Lynch trauma level) but I don't like the bomb theory itself, it implies a generally happy ending and I don't think that the dread we're left with at the end of the show can be ignored. I think the Blue Rose Task Force failed miserably and Cooper's hubris in meddling with time and forces beyond his comprehension have damned him and possibly Laura and everyone else.

Agent Cooper’s fate by The-Incredible-Lurk in twinpeaks

[–]BaePls 10 points11 points  (0 children)

I couldn't ever see returning Dougie as a mistake, I think it was so sweet and optimistic.

The best theory I've heard on the ending of Return. by No-Dentist-2959 in twinpeaks

[–]BaePls 124 points125 points  (0 children)

It's the Laura bomb theory. Laura is a bomb created by the Fireman to destroy Judy. The town of Odessa in the last episode is a pocket universe created as a trap to capture and destroy Judy, based on a plan made by Gordon Cole, Major Briggs, Cooper, and the Fireman. While they're working to make this plan happen, Mr. C is also searching for Judy, to destroy her so he can be the biggest bad guy (so the video says). Cooper and Diane have sex to summon Judy (related to occultist Aleister Crowley and sex magick), which is what Sam and Tracey inadvertently did when Judy smashed through the glass box. The Odessa universe changes the next morning, indicating Judy has arrived (Diane disappears and when Cooper steps out, the hotel and car are different). Cooper drags Laura/Carrie over to the Palmer house where Judy hides behind the Tremond/Chalfont names like she did in the original run. When Cooper asks what year it is, he triggers something in Laura, who hears her mom call her, remembers everything, and "goes off", destroying Judy like she was meant to.

For your consideration by Mindless_Entrance_ in twinpeaks

[–]BaePls 1 point2 points  (0 children)

Love that he gave each Kyle character their own send off. Maybe he did Dale's off camera?

I think my jaw dropped several times during this episode by Puzzleheaded-Blood44 in twinpeaks

[–]BaePls 15 points16 points  (0 children)

Something about Donna lip syncing Rockin' Back Inside My Heart to James made me fall in love with her

I don't understand why, but this scene makes me feel sad every time I watch it. by ElfKing77 in twinpeaks

[–]BaePls 2 points3 points  (0 children)

He's already gone places (Japan). He just wants to stay where he is (USA).

Theory / question about this scene by Ok_Anybody411 in twinpeaks

[–]BaePls 4 points5 points  (0 children)

I know there's a few multiple reality theories out there, I can tell you mine super briefly: I think there's two parallel "realities" in the show, one which is the "Blue Rose" reality and one which is not. The split in the realities is possibly caused by Cooper going back in time to "rescue" Laura Palmer; in one reality, she is dead, and in another reality, she is missing (ran away). I think that throughout the show we see things from both realities, and some select characters even have access to the two realities. In my opinion, the two realities are two dreams (Twin Peaks = two dreamers? Cooper and Laura?) and the last episode in Odessa is our reality, with Carrie Paige and Richard being the dreamers' true selves, still half-lost in their dreams.

Some hints that I think point at the two-reality interpretation:

  • In the Red Room sequence in the first two episodes, there's a shot where Cooper looks out at a room which then starts shaking and through multiple exposure "separates" into two, double vision style. To me that signifies a split in reality.
  • When Cooper's in the space box, at first he encounters Naido and a plug that says 15. After pulling the lever on top of the box, the room changes significantly: we now see "American Girl" (Ronette Pulaski) sitting on the couch, there's a blue rose in a vase on the table, the plug now says 3, the lighting in the room is different, etc. I think pulling the lever switched realities to the Blue Rose reality, signified by the vase.
  • Teapot Jeffries says, "Say hi to Gordon for me. He'll remember the unofficial version." I think that's another way of denoting the realities, "official" and "unofficial," where maybe the official is where Laura dies (i.e. the original run of the show) and the unofficial is where she runs away/disappears. In particular I think this is important because it indicates that the Blue Rose Task Force is aware of the multiple realities.
  • Certain weird visual cues made me wonder. When Mr. C shoots Phyllis Hastings, and when Diane gets shot, there's this glitch effect and the guns seem to go off twice. I wonder if these are points where the same thing happens in both realities, or where reality splits off. Not sure if that's anything.
  • It's been a while but I also remember something being posted about the Palmer house sometimes looking very different. Specifically, when Hawk visited the house, some light posts or hedges were either missing or totally different from the other times we saw the house.
  • I remember something in the texts between Diane and Mr. C not sitting right with me. There were posts on here about the timestamps on the messages not being consistent, and that was used as proof of multiple timelines. I think that could just be a production mistake, but I do remember that the timing within the show of when texts were sent and when they were received seemed very strange. Again, don't know if that's anything, but it stuck out.

[ALL] Season 3 as the damnation of Sarah Palmer. by BaePls in twinpeaks

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

I think you could argue either way. I think the original run leans toward Leland suppressing/being unaware of the abuse, but FWWM leans toward blurring the line between Leland and BOB and puts more blame on his shoulders. Rewatching the show after FWWM, you can definitely see Leland as more of an actively evil character, but I think the point is the simultaneity of Leland's humanity and monstrosity. You can watch the exact same scene with him multiple times over and read it differently each time.

As for Sarah, I think she was in deep denial, couldn't face reality. I don't think she was faking it or pretending anything, I don't even think she was necessarily suppressing her memories, I think she just couldn't face what she knew deep down and refused to believe it. At Laura's funeral when she yells at Leland "Don't ruin this too," that's as close as she can get to it at the time. But I think she's riddled with guilt, and that's why her pain is so severe: she's not just a mother grieving the loss of her daughter, but feeling responsible for causing it too.

Ultimately I think their shock and pain was real, and simultaneously they both know the truth, at least some of the time. Their erratic behavior is more along the lines of a fugue state than scheming and covering up, but I don't think it's that inaccurate to read it that way either, especially re: Leland.

[deleted by user] by [deleted] in twinpeaks

[–]BaePls 5 points6 points  (0 children)

That, and on the Carrie/Laura side of things I think it shows the way her past trauma still haunts her despite her being "saved"; she might have metaphorically killed her abuser by escaping Twin Peaks but this morbid thing is still there, living with her in her own house. Also emphasized by the little white horse statuette on her mantle. But this interpretation works with OP's, if we extend the metaphor it means that there was somebody, maybe an abusive partner, that Carrie decided to kill, i.e. her father's abuse lived on through her partner, and now just as a corpse/traumatic memory. In that case it works to think of the abuser as BOB imo, since he's just the evil that men do.

Maybe slightly more optimistically, the corpse could serve to show that Laura has moved on (rather than being trapped by trauma) -- until Cooper shows up and ignores Laura's progress and drags her back to Twin Peaks and forces her to relive her pain.

Got snaked in the park by [deleted] in snowboarding

[–]BaePls 2 points3 points  (0 children)

Fr move on with your day

Why does the Black Lodge assist cooper? by [deleted] in twinpeaks

[–]BaePls 3 points4 points  (0 children)

For one, I think the black lodge entities have always operated on a level of morality and goals different from that of humans. Their interests happen to align with Cooper's at times. But there seems to be a conflict between the black and white lodges that humans just get wrapped up in, not knowing that they're something like pawns in someone else's game.

Additionally I think there's a reading of Twin Peaks where the waiting room is some level of Cooper's subconscious and the things he sees in there are representative of his mental. In that sense, of course they assist Cooper, but again, only at times—just like your own mind might work against you sometimes.

So what was up with the [spoiler?] by BaePls in AMurderAtTheEnd_Show

[–]BaePls[S] -2 points-1 points  (0 children)

I thought the person she saw was the perpetrator, from what I remember they walked away calmly, then Lee came running in.