Sky Vuelve TWIN PEAKS en 2017 con Lynch al frente
- Autor nogales
- Fecha de inicio
Atreus
Snake Plissken
Pues parece que ahora está de moda hacer montajes del tema de Laura en diferentes películas...Aquí va un ejemplo:
<blockquote class="reddit-card" data-card-created="1549575699"><a href="">[NO SPOILERS] Laura Palmer's Theme x The (Red) Room</a> from <a href="Twin Peaks ">r/twinpeaks</a></blockquote>
<script async src="//embed.redditmedia.com/widgets/platform.js" charset="UTF-8"></script>
<blockquote class="reddit-card" data-card-created="1549575699"><a href="">[NO SPOILERS] Laura Palmer's Theme x The (Red) Room</a> from <a href="Twin Peaks ">r/twinpeaks</a></blockquote>
<script async src="//embed.redditmedia.com/widgets/platform.js" charset="UTF-8"></script>
nogales
Miembro habitual
especial en Movistar con Vigalondo , Cavestany , etc.
Ese especial es uno nuevo o es uno que hicieron antes de emitir la 3ra temporada?
Atreus
Snake Plissken
Atreus
Snake Plissken
INVITATION TO CLEAN...
un millón no, DIEZ!!
Lennoniano
22/11/63
GRANDE.
"DB: I don’t recall ever seeing anything else like that ending here in the U.S. except perhaps for the season-two finale of Twin Peaks. I’m wondering if that was a show you watched, and if so what your thoughts are about it — especially the ending. (I’m also interested in your thoughts on the recent Season Three, if you watched and are inclined to comment).
AM: Yes, I was a huge admirer of the first two seasons of Twin Peaks. I greatly enjoyed season two’s closing episode, and subsequently arrived at an interpretation of Fire, Walk With Me that, to me, was satisfying and answered all of my really important questions about the series. At the end of last year I watched the box-set of season three, and without wishing to denigrate all of the perfectly legitimate reasons why people loved that (presumably) final season, I’d have to say that with the exception of a few arresting images and atmospheres, I kind of wish I hadn’t bothered. Elements that I either hadn’t noticed or which hadn’t especially bothered me the first time, like the fact that the titular town is presumably twinned with Midsomer in that both have tons of bizarre murders and absolutely no black people, seemed a lot more intrusive in season three.
Another thing that stood out was Lynch’s customary Bizarro-Republican stance, whereby the intrusive supernatural evil in his stories always seems to be firmly rooted in the underclass. Structurally, it also seemed that there was rather a lot of irrelevant padding, notably the slapstick “Dougie Jones” digression, which didn’t seem to have anything atmospherically or thematically to connect it to the main narrative in any meaningful way.
Overall it seemed to me, as a large amount of Lynch’s later work does, to be relying on disconnected set-pieces and ultimately not saying very much. This may, of course, be a fault with me rather than with David Lynch, but while some of the most arresting and affecting moments in Lynch’s work have seemed to be plucked straight from the director’s subconscious mind and dreamlife, the ones that have best worked for me are those moments that, while dreamlike, work within the context of the overall narrative: for me, the dead man who is still standing upright in Blue Velvet or the whole of Henry’s collapsing and hallucinating mental landscape in Eraserhead work perfectly within their contexts, while a golden Laura-Palmer-infused egg sent from another dimension to what is apparently a nuclear test-site, which then hatches into a sort of insect-frog hybrid that subsequently crawls into the mouth of a sleeping young girl who, unless I missed something, is never seen or referred to again, really doesn’t, at least for me. If everything is weird, then, relatively speaking, nothing is weird. All of this is, of course, entirely subjective, and it may well be that the season three of Twin Peaks that I watched was significantly worse than the one everybody else was witness to."
Alan Moore Remembers Patrick McGoohan’s “The Prisoner,” Part 2
AM: Yes, I was a huge admirer of the first two seasons of Twin Peaks. I greatly enjoyed season two’s closing episode, and subsequently arrived at an interpretation of Fire, Walk With Me that, to me, was satisfying and answered all of my really important questions about the series. At the end of last year I watched the box-set of season three, and without wishing to denigrate all of the perfectly legitimate reasons why people loved that (presumably) final season, I’d have to say that with the exception of a few arresting images and atmospheres, I kind of wish I hadn’t bothered. Elements that I either hadn’t noticed or which hadn’t especially bothered me the first time, like the fact that the titular town is presumably twinned with Midsomer in that both have tons of bizarre murders and absolutely no black people, seemed a lot more intrusive in season three.
Another thing that stood out was Lynch’s customary Bizarro-Republican stance, whereby the intrusive supernatural evil in his stories always seems to be firmly rooted in the underclass. Structurally, it also seemed that there was rather a lot of irrelevant padding, notably the slapstick “Dougie Jones” digression, which didn’t seem to have anything atmospherically or thematically to connect it to the main narrative in any meaningful way.
Overall it seemed to me, as a large amount of Lynch’s later work does, to be relying on disconnected set-pieces and ultimately not saying very much. This may, of course, be a fault with me rather than with David Lynch, but while some of the most arresting and affecting moments in Lynch’s work have seemed to be plucked straight from the director’s subconscious mind and dreamlife, the ones that have best worked for me are those moments that, while dreamlike, work within the context of the overall narrative: for me, the dead man who is still standing upright in Blue Velvet or the whole of Henry’s collapsing and hallucinating mental landscape in Eraserhead work perfectly within their contexts, while a golden Laura-Palmer-infused egg sent from another dimension to what is apparently a nuclear test-site, which then hatches into a sort of insect-frog hybrid that subsequently crawls into the mouth of a sleeping young girl who, unless I missed something, is never seen or referred to again, really doesn’t, at least for me. If everything is weird, then, relatively speaking, nothing is weird. All of this is, of course, entirely subjective, and it may well be that the season three of Twin Peaks that I watched was significantly worse than the one everybody else was witness to."
Alan Moore Remembers Patrick McGoohan’s “The Prisoner,” Part 2
Última edición:
Atreus
Snake Plissken
Creo que ya se comentó esto hace tiempo.
Yo no concuerdo con su opinión, pero no deja de parecerme un pensador muy muy cabal. Y además muy caballero (extraordinario) por su educación y dejar claro en todo momento su subjetividad.
Eso sí, la frase "If everything is weird, then, relatively speaking, nothing is weird." es absolutamente brillante y LAPIDARIA. Es en eso y en la enorme carencia musical donde veo que la tercera temporada tuvo sus puntos bajos.
Yo no concuerdo con su opinión, pero no deja de parecerme un pensador muy muy cabal. Y además muy caballero (extraordinario) por su educación y dejar claro en todo momento su subjetividad.
Eso sí, la frase "If everything is weird, then, relatively speaking, nothing is weird." es absolutamente brillante y LAPIDARIA. Es en eso y en la enorme carencia musical donde veo que la tercera temporada tuvo sus puntos bajos.
nogales
Miembro habitual
La frase es brillante, pero es que Lynch juega precisamente con el recuerdo del espectador de las dos pasadas temporadas en las que ya cimentó lo suficiente toda la parte "normal" del universo Twin Peaks. FWWM cobra especial importancia como "preparación" del espectador hacia lo que se nos venía en la tercera.
Ahora bien, como dices es un tío brillante y un gran analista. Yo no había caído en la ausencia de afroamericanos en la serie, por lo que deja entrever es bastante razonable pensar que Twin Peaks toma cuerpo como alucinación de los peores pecados de la USA actual y pasada.
Me gustaría saber eso si que le parecería a Alan Moore INLAND EMPIRE...
Pero cómo me dices eso si cada episodio termina con una jam session espectacular de grupos preferidos de Lynch!!!! Sin contar que nos deja una pieza absolutamente memorable y bellísima de Angelo Badalamenti dedicada a Dougie
Lennoniano
22/11/63
Atreus
Snake Plissken
Efectivispilberg. Es tal y como lo dice mi bro. Casualmente estoy revisando la serie original por cuarta vez, e inconscientemente me pregunto cómo quedarían tal o cual escenas sin música al estilo tercera temporada. Y quedarían sin duda mucho más apáticas, que es lo que sucede con muchas secuencias de la tercera. Pienso en momentos como las interminables secuencias de Jacoby con las palas, los momentos cómicos de Andy y Lucy (qué bien les secundaba unos simples raspados de tambor!), los momentos de Jerry en el bosque... La sensación que me deja esa carencia en la tercera (que AMO, ojo) es que estamos contemplando un conjunto de escenas descartadas, al estilo de las Missing Pieces. Sé que es pretendido y es la intención de Lynch, y eso lo defiendo, el problema es que viniendo de la serie anterior, pienso que muchos momentos pierden ALMA por esa carencia.
Atreus
Snake Plissken
CAGATE LORITO (WALDO):
TWIN PEAKS: FROM Z TO A will be housed in packaging with an exterior adorned by a wraparound vista of haunting and majestic Douglas Fir trees. Once opened, a depiction of the infamous Red Room is revealed with its brown and crème chevron floor and brilliant red curtains. Sitting in front of the red curtain will be anexclusive die-cut acrylic figure of Laura Palmer kissing Special Agent Dale Cooper. This acrylic figure comes inside a plastic display holder held in place by magnets.Fans will have the option of leaving the figure in place inside The Red Room environment or removing and displaying it elsewhere. The plastic holder can also serve as an easel to display individual images from The Red Room Gallery, a curated set of 5” x 5” printed cards depicting memorable moments in The Red Room. Each package will also contain an individually numbered collectible certificate.Welcome to Twin Peaks will soon share a full breakdown of its special features, but here’s a roundup of the new content you can expect on Twin Peaks: From Z to A:
Several weeks prior, on October 15, 2019, CBS Home Entertainment and Paramount Home Entertainment will also release Twin Peaks: The Television Collection on Blu-ray and DVD, which includes all three seasons plus previously-released special features.
- Never-before-released behind-the-scenes footage, shot primarily by Jason S, of David Lynch shooting the 3rd season in approximately 20-30 minute pieces titled “Behind the Curtain,” edited and included for each of the 18 Parts.
- A newly-shot interview of Kyle MacLachlan and Sheryl Lee who sit with David Lynch biographer, Kristine McKenna, to look back at their body of work on Twin Peaks.
- Get “On the Couch” with Deputy Andy and Lucy Moran/Brennan as Harry Goaz and Kimmy Robertson share fond Twin Peaks memories in a newly-produced featurette.
- A compilation of full-length, unedited versions of many of the Roadhouse performances as first seen in Twin Peaks: A Limited Event Series.
- A special 4K UHD disc with new ultra-high def transfers overseen by David Lynch of the 1990 Twin Peaks pilot, its international version, and the 2017 season’s most acclaimed episode, Part 8.
TWIN PEAKS: FROM Z TO A
Street Date: December 10, 2019
Catalog #: 59209549000
TWIN PEAKS: THE TELEVISION COLLECTION
Street Date: October 15, 2019
Catalog #: 59208145000 (Blu-ray); 59208084000 (DVD)
Lennoniano
22/11/63
Atreus
Snake Plissken
ÁBRETE, LOGIA:
Lennoniano
22/11/63
Elegí un mal día para dejar de fumar...
Hinomura Krycek
Bayofilo
Bah. No es 4K toda ella...
Atreus
Snake Plissken
Atreus
Snake Plissken
Lennoniano
22/11/63
