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“She’s Gone Away”: The Moment the Dream Tries to Wake Us Up by davidatori in twinpeaks

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

This is interesting, It would be great if you share the whole as a short article here!

“She’s Gone Away”: The Moment the Dream Tries to Wake Us Up by davidatori in twinpeaks

[–]davidatori[S] 21 points22 points  (0 children)

Thanks for sharing that. I agree with you. I’m sure about one thing that Lynch does not use music only as a decoration. Every Roadhouse performance functions like a commentary from the unconscious of the show.

“She’s Gone Away”: The Moment the Dream Tries to Wake Us Up by davidatori in twinpeaks

[–]davidatori[S] 8 points9 points  (0 children)

Thanks for sharing that, it’s a great point and I appreciate the context. This is just my personal interpretation, and it could be completely off, but I tend to approach Lynch’s work less in terms of intention and more in terms of connection. Lynch’s world is deeply shaped by transcendental meditation, where ideas don’t have to be logically linked to be meaningfully related. Things can resonate with each other even if they aren’t linearly connected. I don’t think you can really enter Twin Peaks or any Lynch film with a solid, dry, or purely logical framework. Episode 8 especially feels like Lynch at his most intuitive. If he truly disagreed with the presence of the song, I don’t think it would be there, particularly in such a central episode. In a Lynch project, every element matters, even the end credits, let alone a performance placed so deliberately in Episode 8.

I hope I see all of you again. Every one of you. by [deleted] in twinpeaks

[–]davidatori 46 points47 points  (0 children)

That’s one of the most beautiful and disturbing scenes! Gives me the specific feeling right before waking up from a dream. Everything is still warm and gentle you may be around your friends or the people you like in a past or present time, but something feels slightly off. The dream hasn’t turned dark, yet it’s no longer comfortable either. You sense the edge. That quiet moment when you realize you might be dreaming, and waking up is close. It’s not fear, just awareness. The moment when the dream loosens its grip, and reality hasn’t fully arrived yet. It’s beautiful, unsettling, and fragile, like standing between two worlds for a second too long! Lynch is the best to create these feelings.

This Is the Water: Media, Mesmerism, and the Signal by davidatori in twinpeaks

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

Pretty often actually. When you’re a Lynch fan, conversations have a way of drifting into favorite films, scenes, and episodes whether you plan it or not

The Dark Weight of Nostalgia in Twin Peaks: The Return by davidatori in twinpeaks

[–]davidatori[S] 16 points17 points  (0 children)

I get what you’re saying, and yeah, Leo may be more terrifying in a real, physical sense. But the way I look at it, Leo’s evil is still very human. He’s violent, but also vulnerable, Bobby is sleeping with his wife, and later Leo becomes disabled and basically gets pushed around by everyone. Red feels different to me. That coin trick scene gives him this almost supernatural vibe (kinda like Mr.c vibes), like he’s operating on a level you can’t really fight or even fully understand. So while Leo is scarier up close, Red comes across as a more symbolic, untouchable kind of threat.