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[personal profile] froodle
The first episode of the new season of Twin Peaks airs tonight in the US; how many of you are binging the original series in preparation? I've just popped disc one into the DVD player and I'm rocking a cool owl necklace from Curiology (get 10% off your first order when you click that link) and a sweet Agent Cooper themed Diane pin from WeAreFinalGirls:

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Be sure to share your Twin Peaks aesthetic and celebrate the return of one of Eerie's biggest influences!
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It happens every TV season now like clockwork: some cryptic new drama bills itself as being like Twin Peaks. This year, according to its writer Robert Aguirre-Sacasa, it was Riverdale, The CW’s dark Archie reboot. Last year, it was FX comedy Atlanta, which creator Donald Glover touted as “Twin Peaks with rappers.” The list goes on: Wayward Pines, Bates Motel, The Killing, Stranger Things — all marketed, in varying ways, as being Twin Peak-y. The show was cancelled in 1991, but “like Twin Peaks” remains industry shorthand for “strange, boundary-pushing TV.”

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But Twin Peaks’ greatest legacy? It gave TV permission to be weird. The standard narrative arc was eschewed for an auteur’s singular vision: one full of idiosyncratic character studies, a labyrinthine plot, and dialogue juxtaposing the humdrum with the haunting. Never before — and really, never since — had a TV show challenged this many people to such a WTF-worthy extent. Twin Peaks was more about steeping viewers in a Lynchian underworld than solving a murder. Of course, once it became clear closure wasn’t coming, audiences began losing patience. Nervous ABC execs insisted Laura’s murderer be revealed midway through the second season. By then, a disenchanted Lynch and Frost were focusing on other projects, only peripherally involved with Twin Peaks. The show was canned (with a chilling finale directed by Lynch). Soon after, however, other dramas would ape the “supernatural mystery” formula (see: Wild Palms, Eerie, Indiana, The X-Files). We’ve seen countless more shows since centred on uncanny, out-there visions, from Lost to The OA. All have either pilfered from Twin Peaks directly, or were encouraged by what it proved: that TV could be peculiar, ambitious, and radically unique. Well, to an extent — audiences still expect loose ends to be tied. (Stranger Things’ writers promised there’d be “justice for Barb” in Season 2 due to Internet rage over the matter.)

Which is why now, given a carte blanche to realize their vision, Lynch and Frost are about to reintroduce us to a world still unlike anything out there. Sure, we’ve got weird shows today, but they’ll never be this unhinged, this disturbing, this blasé about viewers’ desires. That all makes for damn fine TV. Drink it up.
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Many, if not most, of the reviews of the new season of Twin Peaks—David Lynch's surreal, small-town soap-slash-fantasy Americana noir that transformed television 25 years ago and that improbably returns this month to Showtime—will reference Riverdale, the CW show where Archie, the red-headed doofus from Archie Comics, is hot.

Yes, critical conversation will compare this auteur-driven, surreal, monumental television series to a teen drama where Cole Sprouse of The Suite Life fame plays Jughead as a brooding art boy whose dad is a gang member played by Skeet Ulrich. This fact might embarrass the more cinephilic people in the Twin Peaks audience: Riverdale is many things, but one thing it is not is an auteur show, and it definitely is not cinematic.
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When ABC started airing “Twin Peaks” in the spring of 1990, television was on the cusp of a slowly unfolding revolution. The proliferation of new cable outlets and the widespread use of VCRs to “time-shift” programs meant TV writers and producers could experiment with different ways of telling stories, knowing that even their freakiest ideas had the potential to find an audience. Over time, the striking imagery, curious tone and narrative playfulness of “Twin Peaks” — so radical when the show debuted — became more common across the dial.

In the decades since, networks and cable channels have continued producing shows directly or indirectly influenced by “Twin Peaks.” Many of those series ran longer than “Twin Peaks” itself, perhaps because they effectively isolated its more mainstream elements and put them at the center. Just by trying out so much that felt new and inspired, the show’s creators, Mark Frost and David Lynch, inadvertently spawned an array of TV subgenres that have been called “Twin Peaks”-esque. Like the following:

Everyone Is Eccentric

A little over a month after “Twin Peaks” aired its Season 1 finale, CBS did a soft summer launch of its new drama “Northern Exposure,” which also took place out in the sticks — Alaska, to be exact — in a community populated by eccentrics with complicated back stories. Though the show wasn’t as dark or kinky, the similarities were so unmistakable that “Northern Exposure” actually parodied the look and tone of “Twin Peaks” in one of its first-season episodes as a way of acknowledging the elephant in the room.

When both shows became hits, the “quaint hamlet as a reflection of America at its weirdest” became even more common as a premise, for shows like “Picket Fences,” “Eerie, Indiana” — even “Gilmore Girls.” None of those series took much from “Twin Peaks” beyond their similar settings (although “Eerie” had a supernatural component, too).
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[personal profile] froodle
I just got a package from RobynLeesArtwork, the Etsy shop that is selling the sweet Marshall Teller Evidence Locker key necklace. Check out the awesome below the cut:

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And added bonus, the girl with the creepy clown doll who haunted tiny night-restless me back in the day:

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[personal profile] froodle
Twin Peaks will soon return to television after 26 years off the air, and the producers have gone to some strange lengths to advertise its return. Take, for example, these Missing Posters that have popped up all over Australia. The signs depict the character Laura Palmer, whose murder was the central mystery of the original series. Although her body was found wrapped in plastic in the pilot’s first two minutes and her killer was revealed midway through Season 2, these posters seem to suggest that the Laura Palmer saga isn’t over yet.

To summarize where we left off with David Lynch’s surreal and sprawling plot for the Twin Peaks series (as well as the film Twin Peaks: Fire Walk With Me and The Missing Pieces, a collection of outtakes that add about 74 minutes to the series and are considered canon), here’s what we’ve got…

The series ended with the cliffhanger that FBI Special Agent Dale Cooper, played by Kyle MacLachlan, travels into the Black Lodge, the extradimensional realm, where Laura Palmer’s killer, Bob, has taken refuge. It seems that Cooper has been trapped there for 25 years, and in the real world, he’s been replaced by an evil doppelgänger possessed by the wicked spirit Bob. We are given one glimpse at this evil Cooper in a deleted scene included in The Missing Pieces.

This version of Agent Cooper is very likely the man we’ll see Kyle MacLachlan playing in the new series, perhaps reinvestigating Laura’s murder now that he’s possessed by her killer? Or maybe not, because David Lynch does what David Lynch wants. I mean, have you seen his weird weather forecasts?
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Mysterious music has always been integral to the strange appeal of David Lynch’s Twin Peaks. Composer Angelo Badalamenti and vocalist Julee Cruise were as critical to establishing the tone of the 1990-91 TV series as was the Pacific Northwest setting and the actors’ deadpan delivery. It made sense, then, that Showtime would aim to make a splash at SXSW in advance of the show’s much-hyped return on May 21.

The network has taken over Clive Bar on Rainey Street with a special installation called the Twin Peaks Lodge at the Showtime House. The Twin Peaks experience starts outside the fence, with a pop-up RR Diner serving free cherry pies and cans of High Brew Coffee.

For those who RSVP or flash SXSW credentials — and wait in a line that was already long by 2 p.m. today (the second day the house was open) — further treats wait inside. There are Voodoo Doughnuts (a local Austin chain) in three flavors, as well as specialty cocktails including a boozy “Damn Good Coffee,” a drink named after Kyle MacLachlan’s most famous line from the series.

VIP entrants have access to the inner bar “lodge” area with eerie details including log pillows (shout-out to the Log Lady), copious taxidermy, and a live goldfish in an (unplugged) glass coffee carafe.

All entrants are able to take in a live music stage (decorated like Agent Cooper’s dreams) with a two-day lineup of artists who have all been personally approved by Lynch. Last night, MacLachlan himself showed up to introduce Real Estate; today’s lineup started with an atmospheric set by Holly Macve and will continue to artists including Neko Case and M. Ward. Unfortunately Minnesota’s Cactus Blossoms aren’t in the mix at SXSW, but they will be in the show.

For a look inside the Twin Peaks Lodge through the eyes of a pair of Snapchat Spectacles I was wearing, add thecurrentsnaps on Snapchat — but hurry! The story will disappear into the forest (that is, internet oblivion) by tomorrow night.


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Eerie Indiana

July 2017

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