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dale cooper wrote:Sad kada su se utisci malo slegli i dijelom apsorbovao suckerpunch finalne epizode, može se reći
da je ovo bio totalni umjetnički trijumf Lyncha i Frosta. Uspjeli su gotovo nemoguće. 25 godina
staru kultnu seriju modernizovati i predstaviti novoj generaciji bez gubitka umjetničkog integriteta.
I biće zanimljivo vidjeti koliki će biti uticaj ove sezone na trenutnu i buduću generaciju režisera,
pisaca i producenata. A biće ga, to je neosporno, što se vidi po ovim gotovo jedinstvenim hvalospjevima
kritike. I mislim da će biti teško nadmašiti finale Twin Peaksa ove ali i sljedećih godina. Jedva čekam
da vidim odgovore Lynchovih kolega na ovo.

Bloo wrote:Ako mislite da ja mogu da naklapam, ovaj me prekucao

http://www.avclub.com/twin-peaks-gave-u ... 1800661325

Bloo wrote:

dale cooper wrote:Sad kada su se utisci malo slegli i dijelom apsorbovao suckerpunch finalne epizode, može se reći
da je ovo bio totalni umjetnički trijumf Lyncha i Frosta. Uspjeli su gotovo nemoguće. 25 godina
staru kultnu seriju modernizovati i predstaviti novoj generaciji bez gubitka umjetničkog integriteta.
I biće zanimljivo vidjeti koliki će biti uticaj ove sezone na trenutnu i buduću generaciju režisera,
pisaca i producenata. A biće ga, to je neosporno, što se vidi po ovim gotovo jedinstvenim hvalospjevima
kritike. I mislim da će biti teško nadmašiti finale Twin Peaksa ove ali i sljedećih godina. Jedva čekam
da vidim odgovore Lynchovih kolega na ovo.

jedan od filmova koji me je ostavio totalno nespremno iznenađenu i ono paf je Život je lijep...ostala sam da sjedim u kinu još 10 minuta nakon odjavne špice sa ovakvim očima
jednostavno nisam očekivala onaj kraj

dale cooper wrote:

Bloo wrote:Ako mislite da ja mogu da naklapam, ovaj me prekucao

http://www.avclub.com/twin-peaks-gave-u ... 1800661325

Ova prva rečenica, you can't go home again, je jedna od prvih stvari koja je i meni pala
na pamet nakon što sam odgledao finale. Nema povratka na staro, niti se prošlost može izmjeniti
koliko god to mi želili.

dale cooper wrote:Alternativni kraj zadnje epizode.

Bloo wrote:

dale cooper wrote:Alternativni kraj zadnje epizode.

fuck you dale

dale cooper wrote:

Bloo wrote:

dale cooper wrote:Alternativni kraj zadnje epizode.

fuck you dale

Nakon ove verzije kraja, mnogo je lakše zamisliti Dejla kako kaže "jebaji ga, hajmo na pivu".

Bloo wrote:čo'ek ne konta
niko ne konta

http://birthmoviesdeath.com/2017/09/06/ ... -it-either

Bloo wrote:
tako nekako
i možda Diane tulpa sa onom resting bitch face da kaže fuck you David

dale cooper wrote:

Bloo wrote:
tako nekako
i možda Diane tulpa sa onom resting bitch face da kaže fuck you David

Ali sad ozbiljno. Mislim da ono "what year is this" nije samo zbunjenost, nego i Cooperov ulazak u njegov
poznati full detective mode. Dok ga Laura ne sjeba naravno (a kako ne bi čovjeka sjebao onaj užasni vrisak, Sheryl
stvarno vrišti da ti se digne svaka dlaka na tijelu ) Mislim da je počeo povezivati neke stvari koje su bile out of place
kao činjenica da su on i Diane došli u jednom auto (koji je čini mi se bilo baš iz perioda negdje 80-te, 90-te)
u hotel, a da ga je on napustio u sasvim drugačijem, modernom autu. I da hotel nije bio isti kao od prethodne
noći. Mislim da se desilo da su Dale i Diane vjerovatno stigli u godinu u koju su i planirali (mislim negdje u vrijeme
dešavanja originalne serije), ali da su se preko noći stvari promjenile i da se Dale probudio u sadašnjosti.
Zbog očigledne pomutnje i zbunjenosti oko sopstvenog identiteta, nije povezao ove stvari do samog kraja,
kada nije pronašao Palmerove u kući u kojoj su nekada živjeli.

Bloo wrote:

dale cooper wrote:

Bloo wrote:
tako nekako
i možda Diane tulpa sa onom resting bitch face da kaže fuck you David

Ali sad ozbiljno. Mislim da ono "what year is this" nije samo zbunjenost, nego i Cooperov ulazak u njegov
poznati full detective mode. Dok ga Laura ne sjeba naravno (a kako ne bi čovjeka sjebao onaj užasni vrisak, Sheryl
stvarno vrišti da ti se digne svaka dlaka na tijelu ) Mislim da je počeo povezivati neke stvari koje su bile out of place
kao činjenica da su on i Diane došli u jednom auto (koji je čini mi se bilo baš iz perioda negdje 80-te, 90-te)
u hotel, a da ga je on napustio u sasvim drugačijem, modernom autu. I da hotel nije bio isti kao od prethodne
noći. Mislim da se desilo da su Dale i Diane vjerovatno stigli u godinu u koju su i planirali (mislim negdje u vrijeme
dešavanja originalne serije), ali da su se preko noći stvari promjenile i da se Dale probudio u sadašnjosti.
Zbog očigledne pomutnje i zbunjenosti oko sopstvenog identiteta, nije povezao ove stvari do samog kraja,
kada nije pronašao Palmerove u kući u kojoj su nekada živjeli.

Ali ono nije "naš" Dale Cooper iz prve dvije sezone. Samo ga pogledaj. Kako priča, kako vadi značku, kako nesigurno govori agent Dale Cooper...

I wanted to share some of my thoughts on the finale, particularly Part 18, since I’ve been thinking so much about it and having a great time trying to solve this puzzle. I am building a lot off of what has been discussed in other posts, but I’d like to believe I’m bringing in new ideas for speculation! This is fairly long, but I think some of you may find it worth the read.

I’d like to begin with Audrey. In Season 2, she was injured by the vault explosion because she was protesting the demolition of the forest, Ghostwood, by locking herself to the vault door. This is very important! The woods surrounding Twin Peaks host the Lodge portals, and the town’s secrets and evils; they are home to the owls. I believe this action by Audrey is more of a binding ritual than a protest, and perhaps a successful one: the woods may have been saved, but Audrey is chained and locked in because of it, even suffering a coma-inducing injury to seal the deal. This vault was the site of deal-making, after all, which itself caused the explosion. Audrey was an heiress to the original agent of Ghostwood’s destruction, so her protest held significant weight: she switched sides through it (passed a threshold). I think that perhaps the woods “won,” and Audrey’s freedom (chains) and consciousness (coma) were sacrificed in turn. The “powers” of the forest then took over Twin Peaks, instead of being on the fringes of it. This is why there is an increase in spirit activity and a decrease in time chronology. So Audrey’s coma is not exclusive from Lodge influence—it is a binding pact with it! I believe what we saw this season was what she was experiencing while in her unique, explosion-and-ritual-induced coma. Some indicators of this are the presence a cryptic, oddly-proportioned man, the stiffness of their bodies, and a sense of confusion.

This is related to my next bit on Carrie Page. Before leaving for Twin Peaks with Cooper, she asks if she will need a coat, and proceeds to go grab one. Getting a coat to go and find someone was a key scene for Audrey and Charlie, one that had direct mention to the “threshold.” The coat is an indication of being prepared for what lies at the next location. Laura/Carrie, at the door, asked Cooper twice if he had “found him,” while Audrey’s mission this season was to find Billy. Both of these situations had incoming phone calls. Because of these parallels, I believe that Audrey and Laura are connected in a crucial way. Laura’s tortured spirit was certainly a part of the sinister woods that Audrey “saved.” Perhaps the dead man in Laura/Carrie’s living room pertains to Charlie somehow.

The first thing I noticed when we met Carrie was her last name, Page. Pages from Laura’s diary that were found after her death contained her knowledge of Cooper and the Lodges, written long before Cooper first entered Twin Peaks. They are the physical link between their souls and beyond time, and Carrie is another missing Page.

I believe that what Laura whispers into Cooper’s ear is a secret master plan that can include only the two of them, as they are forever interlinked as the archetypal roles they fulfilled in Twin Peaks: the body and its investigator. This plan existed eternally in their subconscious, even while they were in altered realities, which is why Cooper knew where to find her seemingly automatically after entering a different realm, and why it was fairly easy to get Carrie to come along with him back to Twin Peaks. What we see in Episode 18 is the fulfilling of this master plan, which was kept secret even from Judy. I believe its secrecy and complexity “defeated” Judy, and that’s why this whispering scene is the focus of the end credits. Laura’s signature scream at the end was relieving to me, because I felt it marked the moment where she was fully reminded of the reality of who she is and the horrors that she endured in that house. Before that moment, she was encapsulated by the illusion of her Carrie "reality." Maybe the Carrie story is something she created/wrote: another secret Page of her diary, and another part of their plan. The final step was to confront the Chalfont/Tremond site. I believe the Chalfonts/Tremonds are malicious Lodge spirits who occupy key dwellings to interfere with realities and lives. After Cooper asks what year it is, a look of scary uncertainty comes over Laura. When she looks up at the house and hears her mother's distorted wailing of her true name, the size and the pain of her reality, against the flatness of this “dream,” overwhelm her to the point that she shakes and screams at the confrontation. This “break” in the illusion shatters it completely, which is why we see the electricity—powering the Chalfont/Tremond home—go out because of it.

Laura’s scream was Audrey’s mirror!

I think the gap in the looping 8/infinity symbol shows that there is an opening in the double loop, and I think Audrey, Laura, and Cooper may have found that opening. To me, the ending was victorious, but it was won through a confrontation with immense pain, rather than optimistic heroism.

dale cooper wrote: Da, Dale/Richard iz zadnje epizode je vjerovatno kombinacija karakteristika originalnog Dejla i Mr. C, što je
logično sa obzirom da se sučio sa "his shadow self" i pobijedio. Originalni Dejl je idealizirana, bezgrešna
verzija FBI agenta koja, iako je toliko volimo, nije baš realna i reprezentativna verzija normalnog čovjeka.
Doppelganger je opet drugi ekstrem, čisto zlo bez emocija. Istina je, naravno, negdje na sredini, jer svaki
čovjek ima i svoje dobre i loše strane, jedino je bitno koja dominira, odnosno koja te vodi kroz život.
Richard je definitivno dobar, sa istom željom za pravdom i potrebom da pomogne ljudima u nevolji kao
stari Dale. Ali je grublji i rezervisaniji, što su odlike doppelgangera. Richard je u stvari reprezent onoga
kako bi Dale Cooper izgledao u "realnosti". Tako da mislim da je ono ipak naš Dale, samo promijenjen
iskustvom crne kolibe i svega što se desilo. Idealizirana, odnosno nama poznata verzija Dejla je završila
sa Janey-C kao tulpa, tako da imamo i to kao neku utjehu.

Bloo wrote: oproštaj sa log lady Marlon Brando wannabe oni krkanski detektivi

zomri wrote:

Bloo wrote: oproštaj sa log lady Marlon Brando wannabe oni krkanski detektivi

kako sam oplako na ovo