I am sure I will continue to have scintillating thoughts as I continue to endure this show, so I may as well start a thread here rather than throw them away on Twitter & Faceborg.
The best way to comprehend what mathematicians mean by Infinity is to contemplate the weirdness of the new Twin Peaks
New #TwinPeaks = a combination of the sublime, the ridiculous, & #DavidLynch‘s slow-burn revenge on mainstream TV for canceling the show.
The show is like what aliens from another galaxy would make, if they tried to imitate our TV & got everything wrong.
With Twin Peaks 2017, I think Lynch takes the point of view of his inter-dimensional predator, decimating humankind while viewing them as stupid, bumbling puppets incapable of grasping the reality they are lost in.
The funniest thing about Lynch’s new Twin Peaks is imagining the expressions on the faces of the show’s money men when they first saw it.
Does #DavidLynch care how bad #TwinPeaks is as long as it’s weird? He takes badness to surreal levels, and vice versa.
After watching episode 4 of #TwinPeaks, I was compelled to report Lynch to the Society for the Prevention of Cruelty to Actors.
I was also compelled to start my own “fan-edit”: to rescue Lynch’s genius from his willed perversity and asininity. Watch this space.
I don’t think I have ever had the experience of feeling compelled to go on watching a show that at the same time I find almost unwatchably awful. That’s a feat in & of itself.
Is Lynch’s point with Twin Peaks to show us just how distorted, pointless, and grotesque our addiction to pop culture is?
The show creates a new medium: aesthetics as torture.
Update July 1 2017:
Having caught up on Twin Peaks, I’m not sure how evolved my thoughts are going to be.
Ep 6 had a bit more narrative drive & the hit & run death of the child was genuinely horrific, but then, how hard is it to make something like that horrific? All it really takes is the will (and the clout) to show it. Where the contrast between good Lynch and bad Lynch becomes most stark is in his use of violence. In Wild at Heart it was titillating, in Blue Velvet traumatic. In Lost Highway it started out traumatic and ended up titillating, empty of emotional weight. The violence in this new show seems mostly of this latter sort.
I suspect a split between Lynch’s TM-calibrated brain states and his delvings into the id. It is like the one is compensatory for the other, without any real integration happening.
The problem with TP so far, IMO, is that besides “Dougie” (the new all-autistic Lynch protagonist), the human dimension is lacking. Lynch doesn’t seem bothered about giving us a way “in” to his dream realm.
BV remains his stand-out work because Jeffrey is the perfect stand-in for us, the viewer, as we are both repelled by and irresistibly drawn into Lynch underworld. The transcendental vision only comes about through that recognition of what draws us to the darkness, and as we integrate it, like the robin eating the beetle. In TP, neither the darkness nor the light are weighted in anything recognizably human.
Ep 8: I guess I can see why it got people’s attention, with the White Sands atomic portal-opening sequence, the arrival of Demon Bob and his hobo-zombie-alien hordes taking over the airwaves and inducing mass hypnosis. But IMO it could have been a third of the length and worked better. A lot of it just seemed like Lynch getting off on being Lynch.
The weirdo sequences in the white lodge(?) lacked the frisson of the eerie that ep 1 captured so well. I noticed also a bit of a Kubrick vibe to this episode. It is Lynch in the role or Revealer of the Big Mysteries, yawn, truth too deep for dialogue or narrative. We are invited just to submit to his aural-visual magick and be awed.
Where is Lynch in all this? Same place Kubrick is in 2001. They are the men behind the movie curtain.
Art that conceals the artists and turns them into Demiurgos is supposed to be myth-making. But myths without a human dimension are meaningless except as dark dissociation fantasies. It’s the flip side of a Spielbergian affirmation of our humanness.
Is this all Bob’s eye view stuff? When the Ahriman Demon was evoked by the primordial splitting of Matter (mother), and its first encounter with humanity was a fake town filled with mannequins, was that the template for Bob’s vision? And is that DL’s TM-turbo-boosted vision also? That human beings are manufactured meat puppets in need of da/emonic animation – or disembowelment?
The appeal of the new TP is probably most of all in its gnomic impenetrability. It gives nods to the APC UFO-occult-paranoid demographic and hooks us with the promise of glimpsing Inside Secrets of the Black Lodge (which I suppose we are). It gives us just enough rope to hang ourselves.