Northwest Passage

Welcome to Welcome to Twin Peaks: A Twin Peaks Podcast for Beginners.

Join Adam and Steve as they put on their investigation trenchcoats, pour a hot steaming cup of coffee, and dive into the world of Twin Peaks.

This week, they discuss the first episode of season one - Northwest Passage (or, Pilot). They talk about the vibe of the feature-length episode, the intimidating number of characters introduced, and their obsession with any shot of wood being cut or sliced.

They continue to attempt to unravel the mystery, decipher the clues, and review the episode, which Adam has seen many times before and Steve has never seen in his life!

We'll be back next week and we’ll discuss the next episode of Twin Peaks - Traces to Nowhere.

In the meantime…
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Transcript

SPEAKER_00 0:11

Welcome to Welcome to Twin Peaks, a Twin Peaks podcast for beginners. My name's Steve Murphy and I'm with Adam Scott Glasspool.

SPEAKER_03 0:19

Yeah, I don't get to introduce myself on the spot. Absolutely not. That's fine. Don't worry about it. Hello.

SPEAKER_00 0:23

Uh hello. We have literally, literally, just finished uh the pilot of Twin Peaks. And figuratively, I think.

SPEAKER_03 0:33

Yeah. Yeah. Spiritually. Spiritually, metaphorically, figuratively, and literally. Sexually. Yeah, in some ways, I think.

SPEAKER_00 0:42

What's the name of the episode? Northwest Passage. That's right.

SPEAKER_03 0:46

Yeah, because that's where they are, right? They're up in the Northwest Passage. That's the sort of Washington State Vancouver sort of area. I've pulled that out of my arse. That might not be true. Five hours south of Canada. Five hours south of Canada. Five miles. I think it was five miles. But if you were walking at one mile an hour, then you are five hours south of Canada. As the crow flies.

SPEAKER_01 1:11

What? I don't know.

SPEAKER_00 1:12

Um yes, we've we've literally just come out of episode one.

SPEAKER_03 1:17

It's the pilot, it's an hour and a half long. There's a lot going on. Yes. So just immediate impressions. Just what's what's going on in your little head? Like what was the vibe? Was it what you're expecting?

SPEAKER_00 1:27

The vibe is exactly what the vibe wasn't what I expected. The vibe was, but the vibe wasn't, you know? I don't know. Okay, so the uh the kind of uh kind of cozy vibe. Sure. Yeah.

SPEAKER_03 1:40

Was there the mountains, the trees, the mountains, the trees, the kind of vibe that makes you want to put a jacket on. Yeah. Right? Yeah. Drizzle. The drizzle. Yeah. Yeah. Um also shot on film. Yeah, yeah. So there was a nice grain to it. I think that helps. It looked amazing. It looked incredible. Um when you were talking about uh that we just finished it sexually. I was thinking about some of the shot compositions that were present in the some of the noises you made went, oh my god, look at that.

SPEAKER_00 2:12

And it's just some guys and uh stood in a certain distraught mind.

SPEAKER_03 2:17

That shot when Bobby walks into the high school though, and he talks to Donna and then he talks to Mike, and then he gets called into the office and it's done in one shot that's perfectly still. Couldn't believe it. I couldn't believe my luck.

SPEAKER_00 2:30

I love it because I I would never watch something like this in someone else, and they'd pick up on that. Right. You were just like, Oh my god, look at that. And some people stood in a room, but um no, but that that whole vibe, like the aesthetic, is what I expected. Yeah, um 50s via the 90s kind of thing, right?

SPEAKER_03 2:47

It really was, right?

SPEAKER_00 2:48

Like, and I said, Was it the sixties? And your answer was no, but the actual answer is well, kind of.

SPEAKER_03 2:55

Yeah, yeah, yeah, yeah. Everybody looks like they've just stepped out of a movie from the 50s or the 60s. Everybody talks like they've stepped out of the movie from the 50s, yeah. Everybody calls each other cowboy or stuff like that. You've got big Ed, who's yeah, yeah, yeah, very 50s. You've got James, who's very 50s, is basically just kind of like a James Dean kind of character, right?

SPEAKER_00 3:18

Don't hate me for saying this, but it's got the touch of that Tarantino thing of the 90s of we're literally just kind of hearkening back to that kind of thing where everyone calls each other cowboy, there's a lot of diners and interesting thing about this, obviously, is it's before Tarantino had made a movie.

SPEAKER_03 3:33

Yeah. This is this is 1989. We didn't know who Tarantino was yet. What's Reservoir Dogs ninety two? Yeah.

SPEAKER_00 3:40

Now I'm not saying it was anything like a Tarantino movie.

SPEAKER_03 3:42

No, but um less feet in this one.

SPEAKER_00 3:45

Uh yeah, I suppose so, yeah. But I I didn't expect it to be uh quite as sort of funny. Um Yeah.

SPEAKER_03 3:54

Oh I maybe were you expecting it I felt it this time round. Were you expecting it to be weirder? Weirder, yes. Yeah, yes. It's pretty straightforward, that pilot, isn't it?

SPEAKER_00 4:06

There's a couple of uh scenes that go on a bit too long, or um a lingering expression on someone, yeah, or just a background character sort of doing like wibbly arms out of shot in the school. Sure, the guy that dances out of shot. Which is incredible, and I was like, I bet just nothing's made of that. And it wasn't it. And I really like that kind of thing about it. It's still giving an uneasy vibe, it's not as uneasy as I expected it would be.

SPEAKER_03 4:29

I think the weirdest thing about it is not any of the events. Like on the face of it, you have a pretty So I'm guessing you also didn't well, we didn't cover it in the first episode, you didn't know it's potentially a serial killer case. No.

SPEAKER_00 4:42

So what we have on the face of it is a pretty straightforward FBI investigates a serial Yeah, I guess let's let's go through kind of what happened, but not like blow by blow exactly, but the very So Laura Palmer's corpse is found in plastic, right?

SPEAKER_03 4:59

Well let's let's go let's go even let's go even more granular. Why not? We've got the time. Yeah. Uh the the opening credits are something where you have the the Robin and the trees. Oh, and then just sort of And the sawmill. Lots of sawmill stuff. Yeah, and the music, it's an incredible theme tune. Yeah. Interestingly, the first character you see is Josie Packard, the the Asian woman who runs the mill. That was very interesting to me that that's the first person you saw. For some reason, I always think that you see Pete Martell first, but you don't.

SPEAKER_00 5:33

Who's the yes? That we're gonna struggle. We're gonna struggle. We're gonna get names wrong. We're gonna get names wrong, we're probably gonna describe them and things like that, and I uh we apologise. Now I'm gonna say that that's the the other sort of quote-unquote owner of the sawmill, right? Who discovers her?

SPEAKER_03 5:48

I don't believe that he is the owner. Josie Packard is the owner. That's right. Um the other woman whose name escapes me is the manager, and they have a bit of a pretentious relationship.

SPEAKER_00 6:04

Correct, who's married Josie Packard. Look, we don't need to get into the that's the soap opera aspect of it. I can't stress how much this is immediately after we watched, by the way. Um But that is the soap opera, yeah.

SPEAKER_03 6:18

Like everybody's related to or having an affair with or knows or is connected to somebody.

SPEAKER_00 6:23

So when you said that in episode one of our episode one of the last episode we recorded, I thought you were just like, oh, that's just like what soap operas are. I didn't actually think that yeah, everyone's fucking everyone. Yeah, yeah, yeah, yeah.

SPEAKER_03 6:34

Yeah. Yeah. Um so yes, Pete is the guy who goes out and he finds the body. Yeah. He doesn't know who it is, it's wrapped in plastic.

SPEAKER_01 6:44

Wrapped in plastic.

SPEAKER_03 6:46

Uh that line sticks with me the whole all the time. Uh and then he brings down So that that what what I think is weird about it, like, on the face of the whole episode, like looking at it, there's not there's no plot elements that are weird. You're not like, oh, this might be supernatural, it might not. There's no you are watching an FBI agent and the police solve a murder case or a potential serial killer case. Some of the characters are a little bit kooky, yeah, but that's kind of it. The weirdness for me comes in the tone of it. Everything's a bit heightened. Everything's very heightened. Yeah. You're not sure which bits are supposed to be funny, I think. And I think that that is illustrated so perfectly in the first like two minutes where he finds a body on the beach and he calls the police. But Lucy, the switchboard operator is trying to describe the phone, yeah, and it's like not the brown one, the black one, by the lamp that we bought, like that one. Yeah, and you're just like, okay, there's something very off about this. That made us both laugh instantly. But then you're then immediately thrown into the phone call, which is like, she's dead. She's dead, she's on the beach, she's wrapped in plastic. Yeah.

SPEAKER_00 8:08

Um but then also immediately, uh, unless there's something else in between I can't recall, and we're gonna get stuff wrong, and I will Yeah, we will.

SPEAKER_03 8:15

It's a vibes podcast, it's a vibes series, it's a vibes podcast. Vibes guys, yeah, we're just vibes guys.

SPEAKER_02 8:20

Should we call ourselves the vibes guys? I think so. I think we are, aren't we? I think so, yeah.

SPEAKER_00 8:27

When the when they come to uh sort of uh look at the body, yeah, take photos and things, and you've got his uh deputy, and he just sort of he's sort of cry he's crying and he can't do it. Which is sad it's sad, but it's a bit funny.

SPEAKER_03 8:41

Yeah, when he then says, like, again, this is what happened last week at the bar, and you're like, okay, this guy's a bit of a tragic figure. Yeah. And that comes back later when he's like, and tell Harry I didn't cry which is really horrible because that's in a horrible scene, yeah, but also quite quite funny. Yeah. And I think so what what I think is very clever about uh the the way that this particular show opens is we know that it's Laura Palmer that has died. Yeah. But none very few of the other characters do. Yeah. Uh and we meet all of the other characters at the point that they find out Laura Palmer has died. Yes. So we get to gauge how closely connected they were to Laura by their reaction to the news that we already know, which I think is really clever, but also you get a real sense of how important Laura was to the community because everybody's devastated.

SPEAKER_00 9:43

Well, this is the thing, like they're uh we spend a good 15 minutes or just watching people find out, and and quite devastating like acting where it's but but again quite heightened, like the mother finding out it's quite funny. Well, some of it is, yeah, yeah.

SPEAKER_03 10:04

Because I I think I think part of what makes it funny is everybody is talking like they're in a movie again. Yeah. So like I find it quite there's the bit where the father finds out. Yeah. And it's because you know, he's on the phone to Laura's mother, his wife, and it's like, She's probably with Bobby, you know, yeah, we don't know where Bobby is, but that's fine, I'm sure they're just out, we don't need to worry. And in the background, that whole time you can see Sheriff Truman walking in through the doors to give him the bad news. And that held me in like a really emotional place, and him seeing Sheriff Truman realizing what was happening, that all felt very emotional to me and very, very real. And Ray Wise, who plays Leland Palmer, her dad, does an incredible job of selling that. He's an incredible actor. Yeah. But then when he actually breaks down and you hear Laura Palmer's theme, that piece on the piano that you've you're hearing for the fourth time now. Yeah, of course. That's quite funny. Right.

SPEAKER_01 11:06

Like where where it really swells and everyone's going like oh my god, and you're going, d, d, d, d, d, dude.

SPEAKER_00 11:18

Again, really, really heightened, and it kind of it undercuts it, but like, I don't know, I don't think I don't think in a bad way at all. Not at all. Because it is setting up such a specific vibe, but there's so much tension in that that just section where everyone's finding out. Because, like you said, we know what's happened. Yeah. So when you know, and then the principal's telling everyone over the um there's obviously the I'm gonna get names wrong. This in the in the classroom.

SPEAKER_03 11:43

Yes, when the teacher is told it does an incredible job of setting up people because you know that James is moody from that because he's got the frowny face and the gigantic forehead.

SPEAKER_00 11:57

He looks exactly like John Cena.

SPEAKER_03 11:58

He does. I hadn't realised that until we watched together. You're like, that guy looks like John Cena. And I'm like, who? I can't see him.

SPEAKER_00 12:06

You can see him.

SPEAKER_03 12:08

It is his name is C Na. Right. Oh, that's how he got away with it. Okay, I'm well I'll ask you at the end. I'll ask you at the end who you think the prime suspects are at this point. Um, you've met Bobby by that point, and you instantly know he's the coolest guy in town because he's at the dino when he shouldn't be, and he's seeing the waitress that is there who is actually married to somebody who has a big truck, and you're like, this guy's so cool because they're drinking and driving, and like is he the coolest guy you've ever seen?

SPEAKER_02 12:35

Because he's got the hair for it.

SPEAKER_00 12:36

Right, he's the coolest guy I've ever seen, but like classic asshole boyfriend of just any teen movie or horror movie absolutely.

SPEAKER_03 12:49

And absolutely the prime suspect, surely. Well, literally. Well, yeah, yeah, yeah. They bring him in for questioning. Yeah, yeah, yeah.

SPEAKER_00 12:55

And Adam did make a good point at that point when they're drinking and driving or whatever, and they come away from the diner, and we've we've met quite a few characters, and Adam said, You're gonna fall in love with at least four different women in just this episode alone. Yeah, yeah.

SPEAKER_03 13:05

Uh correct. Um and I'd love to remind you that obviously in the show they are 17 years old.

SPEAKER_00 13:09

In the show they are, but in the show, in the show, in the show.

SPEAKER_02 13:12

They are the same age as the teachers and the uh nobody's doing a convincing teenager in this show.

SPEAKER_00 13:19

That's a classic kind of American thing, isn't it? In the show, in the show, in the show, in the show. Hey, she's married at this point.

SPEAKER_03 13:27

Yeah, we meet, so yeah, so we meet that's Shelley. Uh the bit that you're talking about in the classroom, we meet, yeah, James, who looks fucking grumpy as fuck. Yeah, you meet Donna, who you know is incredibly close to Laura, because she instantly just starts crying, like, yeah, she knows something is up. You get that incredible shot of just the empty chair. The way they communicate that through cinematography is just incredible. The little looks that James gives Donna, the shot of the empty seat, the teacher trying not to cry. Uh, and obviously you have Audrey there as well, who has already introduced herself by saying that she's here in quotation marks, and you're like, okay.

SPEAKER_00 14:00

And then it's kind of smirking when something's going wrong.

SPEAKER_03 14:05

She's smirking when uh something's up when people uh realizing that Laura has died. Yeah, yeah, yeah.

SPEAKER_00 14:12

Um yeah, I think uh I was surprised by how long it takes. I mean, we're gonna have we're gonna skip back and forth.

SPEAKER_03 14:20

Oh, I know what you're gonna say. How long it takes to meet for Cooper to come in.

SPEAKER_00 14:24

For Agent Cooper. Yeah. Dale Cooper. Yeah, yeah.

SPEAKER_03 14:26

You're like 30, 35 minutes in before our main character arrives. Yes. Yeah. Because it wants to set up all of the soap opera stuff. Before the FBI agent who's investigating the murder even comes in, we're already deep into the subplot of the Norwegians trying to set up uh a health set what is it, commute uh a health center and whether or not the air is good quality and all that stuff.

SPEAKER_00 14:49

We are fed so much information in that first episode where we we know the interconnections of everyone. You could draw a map of who knows who, who's boning who, who's in business with the other people, yeah, what's happening to the businesses. Uh-huh. Uh, you know, the sawmill's gonna shut down, but also there's this other business deal going on, and then people are introduced into those scenes, you're like, oh, but that person's been in that scene.

SPEAKER_03 15:12

Um it does it so elegantly though, it's it's never convoluted, is it? I don't think there's there's one scene where you turned to me and went, I love exposition. Oh, yeah. Because there's one scene where it happens, but I'm pretty sure they do that to make a joke because it's it's in the community centre when they're having the meeting about the potential curfew, and Agent Cooper is introducing himself to the town at large. Yeah, uh, and Harry, the the sheriff, is saying, like, Oh, that's Josie Packard, she runs the sawmill, that's you know, um uh the the the sister of the deceased, and he's going through all that, and you're like, I love exposition. And then Agent Cooper goes, Who's the lady with the log? And he goes, We call her the log lady.

SPEAKER_00 15:56

And that's it.

SPEAKER_04 15:57

That's it.

SPEAKER_00 15:57

And she's introduced by flicking the light switch on and off. Yeah. And that is not how I expected to be introduced to the log lady.

SPEAKER_03 16:04

She's uh she's a peripheral character, I would say. Interesting. She's yeah, well, no, do you know what? She's a catalyst, is what she is. But she's uh yeah. I don't I don't know if you can who's the lady with the logs. She's the lady who's the lady with the log, she's the log lady. Uh can you summarize from this uh first episode who the important characters are?

SPEAKER_00 16:29

Yeah, so we're gonna go James. Uh is it Donna who is who kisses James at the end at the end. Jesus Christ, I know, right?

SPEAKER_03 16:38

What? I know what am I right? You are right. Am I? Oh, I'm right. Yeah. They did kiss.

SPEAKER_00 16:46

They did kiss at the end. Uh and then we're gonna go Bobby and his mate.

SPEAKER_03 16:51

Sure.

SPEAKER_00 16:51

So let but let's make some connections here.

SPEAKER_03 16:54

So Bobby is Laura Palmer's boyfriend, yeah. But is seeing Shelley on the side, yeah, who is married to seeing Shelly, who's Shelly?

SPEAKER_00 17:06

She's the waitress at the dining who's married to that sort of piece of shit with the truck.

SPEAKER_03 17:10

Leo, she's in an abusive relationship with the truck, yeah. Horrible relationship, we can already tell from the first. Yeah, this this is the thing about the tone. So we have already said, like, um, there's bits that are funny, and even some of the very emotional bits are quite they're overwrought enough to kind of make you laugh. Um there's some real dark, sort of heavy shit in there. Yeah. Uh, and I think let's talk about Cooper like a little bit. I think you can just instantly tell that he's different to everybody else in the town.

SPEAKER_00 17:42

Very, very like uh immediately try and go first of all, I'm gonna talk about his his his uh fashion and the costume because it's so good. No, and and I will get to it because I think it makes such a difference is that he's um it's the 90s, yeah, but it's the sixties because he's not wearing a big fox molder, gigantic eighties suit. Not yet. He is wearing oh suits, okay. I thought you were gonna say coat. Oh no, no, but but he's wearing like a slim tie, skinny tie, and it's in the Well he is the FBI, and he's the FBI, I know, yeah. So immediately, and with the slicked hair, he is vastly different to everyone else. Yeah. But his introduction, he's always talking to Diane on this dictaphone. Yeah, yeah, yeah, yeah. And he's just he's I mean he's he's autistic, isn't he? He's uh and I and I don't mean that in like a oh he is, but he's he's so detail-oriented, straightforward, detail orientated, blunt, blunt and like fish out of water, but like uh he's not gauging he he's engaging in things I'm not saying he's he is, but like these are the kind of he has autistic traits, yeah, yeah, yeah, for sure. Uh and just the kind of yeah, the detail orientation, not quite getting the tone of the situation in some points, um and and just his lingering smiles and stuff. It's so good.

SPEAKER_03 19:02

But he he is the show, I think, for me, because he does flip in tone. Like you say, like he's maybe not sure what the tone is. There's a really good illustration of that when he meets Harry for the first time. Harry is the sheriff, Harry S. Truman. Yeah, easy to remember because it's the name of a president. Um uh and he's like, I I came up here on Highway 2, I had this incredible piece of cherry pie. Uh, what are the trees here? Yeah. Douglas furs. And then within the next sort of ten seconds, he's like, Was she raped? Yeah. Several times. Yeah. Same perpetrator, we don't know yet, we're waiting for the test results. Yeah. It flips just from the kind of the kind of funny, the whimsical, straight into the kind of darkness. You have another bit like that where um they're in the I guess it's for the autopsy, and the light is flickering. Uh and the and he said, Can you leave us alone, please? And he's like, Oh, Jim. And he's like, No, can you can you leave us alone? He's like, Oh yeah, okay. So that that's the result of two bits of improvisation. That's a genuine mishearing, is the actor thought he said, What's your name? Yeah, and David Lynch left it in. And also the light was not supposed to be flickering, it was just uh happening on the set, and David Lynch was like, Let's leave it, we'll leave it like that. Um so you get that quite funny exchange immediately followed by him digging stuff out of the fingernails, yeah. And you're just constantly met with this darkness and it goes back and forth on the tone. Um the thing about Coop, and I'll call him Coop because he's my friend, yeah. Um is this might unlock something for you and it might not. He is David Lynch, I would say because a lot of the dialogue with the soap opera interpersonal relationship with the dialogue stuff was written by Mark Frost. And almost all of Dale Cooper's dialogue is written by David Lynch.

SPEAKER_00 20:57

Right. So you're getting this kind of uh friction. Yeah, yeah, you're getting a weird little friction. Weird sort of slight, you know, fish out of water guy versus the kind of kitschy 50s kind of everyone knows everyone. That's interesting. Uh yeah, that works so well then, doesn't it? Because then you've got these two entirely different forces coming together, and you've got like Dale Cooper against this uh town, really. Yeah. Um but he knows more about it than we kind of do at this point, right? So he he knows that this is probably connected to another killing he's seen.

SPEAKER_03 21:33

It it parcels out information uh really, really well. You like you get so much you're introduced to so many characters uh before Dale Cooper gets there. I remember seeing a review of this where someone was like seems a little bit late to be introducing another character when Dale Cooper gets there because you've met so many people. Right, yeah. So you're kind of in the d all you know is Laura Palmer's died. Yeah. Uh and then he drips feed you little bits and little. Bits of the mystery uh before he says he thinks it's you know related to another kill that we haven't we have no knowledge of. I think her name's Theresa Banks, right? Yes um but also there's this third girl uh who we see in one of the most beautiful shots of the whole thing where she's working along the railroad tracks on the b on the bridge with the with the mountains behind her. Um a really nice piece of symbolism where you have this completely broken and beaten girl, like this very dark figure wandering across a serene and beautiful mountainscape that has rusted industrial metalwork in front of it. That sort of twin peaks in like the whole fucking nutshell right there. It's like a run-down timber town that ha that is in a beautiful area that has this darkness bubbling away underneath it. Um she's not dead.

SPEAKER_00 23:04

Yes, and he immediately looks under her fingernails, doesn't he? And there's nothing there. There's nothing in there, but then he looks under Laura's. And there's a little R. There's a little R.

SPEAKER_03 23:13

Now we don't know what the R stands for, do we?

SPEAKER_00 23:15

No, we don't, but he was he knew there would be a letter under there. I think I think we get the kind of thing that he's like, oh it's an R this time.

SPEAKER_03 23:22

He says to Diane, doesn't he? Yeah. Yes. Yeah.

SPEAKER_00 23:24

Oh, I want to know Diane who's Diane?

SPEAKER_03 23:26

Diane is uh is his I think so I'm I'm imagining She's in charge of expenses. Yeah, kind of. I imagine that she is like his assistant. Yeah. Right? I'm trying to scully. So for for listeners, I'm trying to like uh exist uh in just the moment of this episode. Yeah, because and not bring in anything that I know in front of uh like in front of this episode.

SPEAKER_00 23:54

So there's me going, who's Diane? You could have easily gone, well actually she's this person who's gonna be the well you don't know that.

SPEAKER_03 24:00

I don't it could just be someone that he only ever talks to via a tape recorder, and I'm I'm up for that. Yeah, yeah. Someone he's constantly going to like Diane, I'm holding in my hand a box of chocolate bunnies. Is that so good because he's got through the whole diary and everything afterwards? This is also something that it parcels out. This idea that Laura Palmer is not the incredible homecoming queen community melder, because there's lots of little stuff, lots of little bits that we find out about her, like you know, she's dating someone who's on the football team, you know, and is the coolest guy in town, yeah, you know, and she volunteers her time to work with someone who has learning disabilities, the guy who was in the Native American headdress and was banging his head against a dollhouse. Um but also we find out that she was cheating on Bobby with James with a biker. Yeah, with a biker, and we find out that there's a key in her diary that is likely has cocaine on it. Yeah. And she has that safety deposit box. The key is to the safety deposit box, which has a magazine for swingers and ten thousand dollars. Fleshworld. Fleshworld, indeed.

SPEAKER_00 25:12

And Cooper's reactions to everything is incredible because he's delighted. He's so happy to open that up. Hey, there's a page marked and he's got a big grin on his face.

SPEAKER_03 25:20

Now, so I I've I've the first time I read that, I was like, oh, he's into the magazine and the content of the magazine. But it's not that at all, is it? He's so excited about clues. He loves solving puzzles.

SPEAKER_02 25:31

Yes, he does, and you can see it. Yeah, yeah.

SPEAKER_00 25:34

Yeah, absolutely. And and you always get the the feeling that uh he is ahead of the game in terms of so there's a scene where he's in there interviewing Bobby, we're right back again. He's so happy to be there. He's he's really happy to be uh interrogating him, and he asks him a couple of questions, immediately like texts on his little device, whatever it is. I thought he was just doing some sums on a calculator, but he just passes it to the sheriff and it says he didn't do it. He did not do it. He knows straight away. Um, and there's another scene like that a bit later on where uh they pull over James and Donna on the motorcycle, and he goes, she says something like he hasn't done anything. And he's like, Yeah, she's probably right. Yeah, yeah, yeah. And he kind of knows.

SPEAKER_03 26:19

Also, there's that scene where Lucy overhears Bobby and Mike talking about Laura going to meet a biker. Yes. And Lucy goes to tell Cooper, and he already knows. Oh, because he's seen it in the reflection of her eyeball.

SPEAKER_00 26:32

Oh, I loved it so much.

SPEAKER_02 26:35

It's so stupid though.

SPEAKER_00 26:37

I I also love how um it's Lucy, the receptionist lady, the switchboard operator. So excited that she what the way she went about about it, I pretended to type. I typed down exactly what they said, but even the sheriff is like, I can't wait to tell you this information. And he's like, It's the biker, and they look so upset. Yeah, they look so disappointed.

SPEAKER_03 26:55

Yeah, yeah, yeah. Yeah. Uh who who else have we got? We're introduced- Okay, so we're introduced to Laura's psychiatrist, Dr. Jacobi, one of the weirdest characters that we who seems like excited to go to the morgue with them to see Laura's body.

SPEAKER_00 27:12

With the the earplugs in his ears. And the Hawaiian tie. Well again, excellent reaction from Dale Cooper. The coops. Uh he's just very cold with him, but isn't he? It but he glances down at the tie at one point, and I was like, How long is anyone gonna before they react to this tie? And he does, but very, very subtly, it's nice. Yeah, he's very cold with him. Yeah.

SPEAKER_03 27:35

I would say that he's maybe a a person of interest. Okay. Psychiatrist, right? Someone who knows Laura very well. Yeah. Uh, and he's very excited to go to the morgue. That's uh an odd reaction for yeah, I'd say.

SPEAKER_00 27:49

Yeah, yeah. And who else have we got, person of interest wise?

SPEAKER_03 27:52

Oh, person of interest wise. Well, just in yeah. Look, we don't know. I I obviously from a strictly like evidence alibi point of view, James is high on the list.

SPEAKER_00 28:04

Of course. I think clearly the uh the show's setting up that oh he's of interest, but he's alright, he's okay. Yeah. Uh but then we can't how how much can we trust his word that he was with her and then she was acting a bit off and then she ran away. I will say no alibi, he said, right?

SPEAKER_03 28:25

Yeah, although I will say I don't know that James is a serial killer. Right. Do you know what I mean? Yeah. In terms of people who fit serial killer vibes, yeah. I would again be looking at Dr. Jackie, right? Yeah. But also I'd be looking at Leo. The abusive part, we've got him. Because you remember his truck is in Flesh World.

SPEAKER_00 28:49

That's right, yeah. Do you remember the little photo? Yeah. But then also you've got, and I've forgotten her name. Yeah, go on. She was in the pass room looking Audrey. Yeah, Audrey Horn. She's looking a little bit bit off. She's got like, you know, stabs the coffee cup and then all goes into the ruins the deal.

SPEAKER_03 29:05

Ruins the deal. She tells the Norwegians about the murder. Yeah.

SPEAKER_00 29:08

Yeah. Uh yeah, that whole scene is really funny. Again, set up for laughs where that all the businessmen are turning their. She's watching her. Yeah, yeah, yeah.

SPEAKER_03 29:16

Um what's what what is wrong, young pretty girl? Is that what he says?

SPEAKER_00 29:20

Yeah. Yeah, again, there's just I I mean, I know that that's like because he's Norwegian, that's the way he's working, but there's so many lines where someone will say something and it will just be in a slightly off way. Yeah. Um, but yeah, I think I think a little bit less spooky than I expected.

SPEAKER_03 29:35

Yes, definitely. Definitely a little bit less spooky.

SPEAKER_00 29:38

Super cozy, I felt.

SPEAKER_03 29:40

Very cozy. I would say a lot of the spooky or ominous stuff for me comes from uh cinematography or cutaways. I don't know how much of my future knowledge or just this being a rewatch for me is doing some of the heavy lifting. I will say that the shots of the mountains are very ominous. Yeah. But I will say that the shots of the traffic lights I find to be quite ominous. They're just used as between scene kind of fluff. He even mentions them though. He does. It's uh it's the kind of town where yellow means slow down instead of speed up. Yeah. And that's because Cooper's coming from Washington, right? That's where the FBI is coming from the big city, has come to this small town. It's a great way of describing it. But just the traffic light swinging in the breeze, changing colour, I find quite ominous. There's a couple of shots, uh there's one where it's just absolutely uh routine, and it's where uh Laura Palmer's mother is trying to get Laura up for school. Yeah. And there's that shot that is in the corner. It's an incredible shot for a TV show. You can tell this is a movie director, can't you? Sure. Um it's a shot looking up at the landing, and you can see the ceiling fan, and you can see the three doors that she that she uses. They go back to the ceiling fan at one point when she says, Who's upstairs? Right? Ominous. Ominous. Yeah. And then then later they cut back to the ceiling fan with nothing connected to it. Yeah. But it's that ceiling fan, that shot looking up the stairs towards Laura's bedroom with the ceiling fan turning. It's something they return to three times in the in the show. Did you get an ominous feeling?

SPEAKER_00 31:31

It's got aspects of horror to it, isn't it, right? And it's that thing of there is a couple of different entrances and exits to the shot where there could be somebody entering or exiting, or just there, or something like that. It's it's it's done a lot of horror. I like it also feels a bit liminal. Liminal hereditary, I get from that kind of thing. That there's a couple of times in that movie where it takes you a while to see something and it's kind of giving off that vibe, right? Absolutely. Yes.

SPEAKER_03 32:02

Yeah. Is very interesting to me. There's there's the shot of um when the principal's making the announcement of just the empty high school hallway that is also very limitable and quite ominous in a way.

SPEAKER_00 32:13

There's like there's certain shots I think they use a lot, and I might be wrong here, and you're the movie guy, but I am using I'm the movie guy, uh and you come from down my way. What can you play?

SPEAKER_02 32:23

Also, we are the vibes guys. We are the vibes guys.

SPEAKER_00 32:26

You might have a shot of somebody, and they've specifically framed it in a way where you it looks like someone might enter the shot. There's a lot of space, there's a lot of space, and that kind of gives it makes you feel a bit off, and they do that a couple of times in it, and it's very subtle, and I don't think it's necessarily specifically meant to make you feel that way. Maybe it is. Of course it is, it's David Lynch, I suppose. Um yeah, I got the off feeling throughout the whole thing, but again where things are funny where they shouldn't be, and things like that. Uh yeah, you're never sure where the next bit of darkness is coming from. Yeah, or just exactly where they're gonna cut to next. Because we we get a lot of just you know, there was just shots, long shots of wood being cut. Shots, long shots, yeah. Twenty four seconds.

SPEAKER_03 33:14

Yeah. I mean that I it's it's tricky starting with what is essentially a movie. Uh, because there's a lot going on there and there's a lot that we will have missed. But what is your kind of I was gonna ask what your overall impression of it was. It's difficult because it obviously ends on a cliffhanger, it ends on a very horror-oriented cliffhanger. That is the most horror that it gets, I think, which is it's uh Sarah Palmer, so that's Laura Palmer's mum. Yeah. Having I suppose it's not clear. I guess uh the way I took it is she's having some kind of vision. Okay, yeah, I mean, earlier on Or something is happening and she can feel it.

SPEAKER_00 33:57

When they're questioning Sarah, it I think it's kind of implied that because he goes, You can speak to her now and she kind of relaxes, but the doctor has given her some sort of sedative to be able to calm her down, right? Yeah, okay. And I it feels like that she is maybe on those sedatives towards the end, but then she's kind of brought out of it.

SPEAKER_03 34:13

Okay. Yeah, that's interesting. I'd never picked up on that before. The doctor, we should say, is obviously Donna's father.

SPEAKER_00 34:19

Right. Yeah? Had you picked up on that? Oh, of course, yes.

SPEAKER_03 34:23

Yes, and has the disabled wife in the wheelchair. Yeah. Yes. Oh god. Yeah, yeah, yeah. There's so many connections.

SPEAKER_00 34:28

And there's also a lady with an eye patch.

SPEAKER_03 34:29

Uh that's the dean, yeah. That's Big Ed's wife, right? Big Ed. Big Ed. Now, Big Ed is also seeing Norma, the who who who owns the the double arc.

SPEAKER_00 34:40

And of course, the detective not the detective, the sheriff is seeing uh the sawmill. Jesse Packard, of course.

SPEAKER_02 34:49

Anyway, yes, the ending. And and oh fuck, what is her name?

SPEAKER_03 34:53

What is the name of the the the the female manager of the sawmill? Listeners are going to be going like, oh, it's obviously and I can't remember because I'm thick.

SPEAKER_00 35:03

The sister of the deceased.

SPEAKER_03 35:04

Yeah, the sister of the deceased, but she knows, she knows that Josie's seeing Harry. There again. Yeah, yeah, yeah.

SPEAKER_00 35:10

Right, but the ending, yes, she is kind of hang on, wait, they're set up, they're set up, they're set up, they're set up We got two vibes, we got two Fivesy with it.

SPEAKER_03 35:18

We are the Vicky's guys. Um there's this um they find the murder scene, it's in a train car, it's where Laura Palmer and this other girl were held and tortured before Laura was killed. Uh inside, now I don't know if you thought this was going to come up as quickly as it did, is a mound of dirt uh with the phrase fire walk with me. Yes. Just written on written on paper in blood below it, and on top of the mound of dirt is uh a necklace that has half a heart in it, and they suspect that whoever has the other half of the necklace is the killer. Yeah. Uh it's revealed that James has the other half of it. They hide it, him and Donna, they hide it underneath a rock. After kissing. After kissing, yeah. Um they hide it underneath a rock because he can't have no alibi and have the piece of evidence that they think the killer has. Yeah. Uh which is fair enough, I suppose. And the whatever it is, the vision, the feeling that Sarah Palmer gets is a gloved hand removing the necklace from where James hid it.

SPEAKER_00 36:30

But that scream that she does. And she does it at the beginning as well when she finds out that her daughter's died, it's really quite unsettling. It really something off about it, and it's just like, oh, it really like tingles down the old spine hole.

SPEAKER_03 36:43

Women screaming is a big thing for David Lynch. Right, okay. He uses that a lot, and uh yeah.

SPEAKER_00 36:50

Yeah, and then we yeah, and then and then you get that green text, which is real weird, isn't it?

SPEAKER_03 36:56

I don't know why green text. Oh, just the credits. Is it weird?

SPEAKER_00 37:01

I think the green and the kind of neonness of it all is is a bit sci-fi.

SPEAKER_03 37:06

A brown border, isn't it? Yeah. Is it a bit sci-fi? It feels like that. That's interesting. So it immediately feels uh Oh, that's it. I've never got a sci-fi from that, but it's definitely um yeah, it doesn't necessarily fit in with the soap opera vibe of it. Yeah, it could have been. Yeah, yeah, yeah. It could have just been due south. It could have been what? I don't know. I don't think due south did have white text. That would have been a nightmare. Mountains, isn't it? Yeah, but the the end credits where him walking up the snowy bank, like white credits would have been a nightmare.

SPEAKER_02 37:40

Pretty sure they were just maybe there was white credits and you just didn't see them.

SPEAKER_00 37:43

Yeah, maybe. Maybe. Yeah. Yeah, cool. Uh I'm on board. You're on board. I I was very much drawn in. We had a lovely time. I'm such a lucky boy. Um I'm looking forward to getting go because you you sort of you teased that there would be cliffhangers. Yes. And uh very much is with this. That is that is a big cliffhanger at the end.

SPEAKER_03 38:08

Because I guess who who do you think who who is that hat? Well There's only two people who know where it is.

SPEAKER_00 38:16

I know, but there'll be Or is there? Well, exactly. Yeah. Who else was we don't know who wasn't who was watching them.

SPEAKER_03 38:23

It could have been the other biker that dropped That dropped on her there. Yeah. Yeah. We uh Can we talk about how much I want to hang out at the Roadhouse? We can talk about that. Yeah. Yeah. I'd really like to hang out at the Roadhouse.

SPEAKER_00 38:35

I want to go to a diner where there's several bikes parked outside and there's someone sort of singing some sort of ethereal kind of thing.

SPEAKER_03 38:41

Yeah, so like Dream Pop, right? So that's Julie Cruz. Right. She wrote the song Falling. When you asked me in the first episode, does the theme tune have lyrics? The theme tune doesn't have lyrics. The song they use for the theme tune has lyrics when it's not being used as the theme tune for Twin Peaks. Okay. So she is singing the theme for Twin Peaks in that in that bar, which is kind of cool.

SPEAKER_00 39:02

You want to exist in a town where there's one bar that everyone goes to in the evening and there's a fight.

SPEAKER_03 39:06

And it's not like quite clear what it's called because everyone refers to it as the roadhouse, but there's a big sign outside with a gun and it and the neon sign it says the bang bang bar. Right. You're like, well, what's it called then? Okay.

SPEAKER_02 39:18

Why is it called the Roadhouse?

SPEAKER_00 39:19

But is the Roadhouse kind of isn't that is that slang for kind of a biker bar kind of thing? Because of the Patrick Swayze movie The Roadhouse.

SPEAKER_03 39:25

I mean, I guess so. Yeah, but that's not that's not from the Swiss movie.

SPEAKER_00 39:30

I know it's not, but that's like the kind of bar it's it the it's like, right? It's like a like a dive bar. Is that another name for a dive bar? Uh yeah, I guess so. Yeah, it is a dive bar.

SPEAKER_03 39:40

Yeah, yeah, yeah. I guess so.

SPEAKER_00 39:41

But yes, the bang bang bar. Nice.

SPEAKER_03 39:44

They're they they are they are led there by well by Donna, I guess, in a way. That's who they're looking for. There's all sorts of clues. They're looking for a biker with the first uh whose first name begins with Jay from Laura Palmer's Diary.

SPEAKER_00 39:59

There's two J.

SPEAKER_03 40:00

There is two J's, they think it's Joey, but it's actually James. Yes. Um there's a lot going on. I will say, like, I was just so heavily into the vibe of this. I think it looks incredible. It's one of the best-looking TV shows that I think I've ever seen. This is my first time watching it on Blu-ray.

SPEAKER_00 40:24

Wonderful, like uh uh what would you call it where it's got black boxes either side.

SPEAKER_03 40:29

Aspect ratio. It's an incredible aspect ratio. It's big telly. Uh well, yeah, of course. We didn't have widescreen TV back in those days, Steve. And the internet was all in black and white.

SPEAKER_00 40:38

But right, am I right in am I right? That's it. You might be right. Like X Files Blu-rays, they've expanded it. They've zoomed. Or no, have they zoomed? Because didn't they shoot it in Go on.

SPEAKER_03 40:49

It's a mixture of the two. Right. They did shoot it in open map, yes, but they um and and then and then cut it out. But what they've done for the Blu-rays is zoomed in a little bit, it's not framed perfectly. Now, you cannot get David Lynch to do that. He will present it as uh as originally intended, and it looks fantastic. I mean, you imagine if they'd imagine my reaction for that shot when Bobby walks into the high school if they've zoomed in and you weren't getting the full frame. Yeah, you'd kick off. It would be unbelievable, wouldn't it? Um how was the pacing, Steve? I know you love talking about pacing.

SPEAKER_00 41:24

I'm always talking about pacing.

SPEAKER_03 41:26

Uh I actually thought it was pretty zippy.

SPEAKER_00 41:29

Yeah, it it is slow, but that's not what pacing's about. But you're always fed a little bit more information, and then that character from that scene will be maybe at the end of the next scene or something along those lines, you know? And um I don't know, it just got sort of keeps feeding you into the next part where I'm always interested.

SPEAKER_03 41:54

Yeah, yeah, absolutely. Um it's a very propulsive episode, even though it's slow.

SPEAKER_00 42:03

Um It's really quite uh obviously trying to introduce you to as much information as possible, but it's done in a in a way that is actually quite entertaining.

SPEAKER_03 42:14

I think it's very elegant, I think it's really well done, and I also think even the bits that are slow, it's like a comfy kind of slow. Yeah. Where you're like, I'll I'll watch that shot of the mountains for 20 minutes if you want me to.

SPEAKER_00 42:26

I just want to see some wet wood being cut.

SPEAKER_02 42:30

Oh yeah, when we got to the sawmill, you were like, more of this, please. I'll take all the money you got.

SPEAKER_00 42:38

Yeah, just though just those institutional shots. Uh yeah, great man.

SPEAKER_03 42:43

Like uh There's a there's a there's a quote about it that I really liked. Uh so this is it's it's a quote from Michael Onkeen, who plays Harry uh the sheriff in the show, but it's about Paul Newman, the actor. Okay. Because he's friends with Paul Newman. He said Paul Newman, who was my friend, missed the broadcast of the original Twin Peaks pilot on television and was well aware of the avalanche of positive reviews, and it did. It got incredible reviews, and I think about 35 million people tuned in for it. Okay. Which is crazy. Yeah. That's like half the population of the UK. That's how many people that is. Anyway, uh Michael Hunkin says, I called David Lynch and asked for a copy to be sent to us in New York, and Paul Newman arranged for it to be shown at a Manhattan screen screening room. It was just the two of us and the director Mike Nichols. Afterwards, Paul Newman gathered himself, got real quiet, turned to me and said it was one of the few times in his life he had experienced a perfect movie.

SPEAKER_00 43:44

Wow. That's and that's episode one of a TV show.

SPEAKER_03 43:47

Episode one of a TV show called Twitch Peaks. Yeah.

SPEAKER_00 43:49

Yeah, okay. Wow, okay. Is it a perfect movie? Because it I g I guess it could be. It does not wrap up the narrative elements in a

SPEAKER_03 44:00

In a satisfying way. No. However, if you added 20 minutes to it and wrapped it up like they did for the international version, I think that could be close to a perfect movie. I was having an incredible time watching that, and it's probably like the sixth time I've seen it.

SPEAKER_00 44:13

Yeah, yeah.

SPEAKER_03 44:14

It it did strike me how not weird it is. Yeah. And I do think knowing where it goes, some people got suckered in, I reckon. Really? Yeah.

SPEAKER_00 44:23

Well that that was going to be sort of my question while watching it is that like there would be people, this the casual people that would put on what's this TV show, Twin Peaks? Let's watch Twin Peaks.

SPEAKER_03 44:32

It's about a Murber.

SPEAKER_00 44:34

I think I think you'd be you'd be drawn in by that. It's definitely a specific vibe, but they would have gone, Oh yeah, that's sort of interesting. I'm interested to see where it goes and kind of maybe what the reaction might have been from so some people, you know. Yeah.

SPEAKER_03 44:46

I think it's a slow burn. Yeah. Is what I will say. It's a it's definitely a slow burn. Because stuff like X-Files is very much It's upfront about like I investigate the paranormal.

SPEAKER_00 44:58

Also, here's entertainment. You know, it's it's much more in uh uh entertaining up front. Uh these this is the thing we're doing.

SPEAKER_03 45:07

That's true, but it's it's much more uh formulaic, I think. You could you could argue that the X-Files, even from the beginning, is kind of like uh it's law and order, but with ghosts. Yeah, yeah. You know? Yeah. Whereas this is much more uh I think I what I noticed this time around is like this is on the level of the kind of prestige TV stuff that we see today. Yeah. Except this is 1989. Yeah. That's kind of crazy to me. People were not doing uh this on TV. Sure. TV didn't look like this.

SPEAKER_00 45:42

Absolutely.

SPEAKER_03 45:43

Yeah, yeah. It has a lot in common with uh the the stuff that we see today. Uh all all of the comparisons that I drew to it in my little brain hole while we were watching that. They're all from shows that came after Twin Peaks. Yeah, you know, which I think is fascinating. Uh and yeah, it was it was very successful. It was incredibly well reviewed uh when it came out. Um and yeah, I think it really paid off for them. They they they they they like had this pitch, it was like a 10-minute pitch for the show uh that they pitched to the network, Mark Frost and David Lynch. And they were like, it's gonna be about this murder, it's gonna have a soap opera element, the murder's gonna become less important as we go, and we're gonna focus on the the characters of the wider town, which I think you can see them kind of setting up here. And they were like, Yeah, go make a pilot. And I think the budget was around two million or something like that. Right. Which is, you know, for an hour and a half, that's not loads of money in 1990. Um and I think it, you know, it it it gained a lot of uh critical respect. Obviously that first episode gained a lot of viewers. It wasn't to everybody's taste. I think the first the first proper like episode that is 45 minutes long, the second episode of season one, uh got like 10 million fewer viewers. There was like a third of the audience just went not for not for me, I don't think. Yeah. And I wonder if that was just the uneas uneasiness of the tone. Like, is this funny? Is it a soap opera? Is it uh a a crime drama? Is it a very dark thing? For me, I I love that tone. I love how it holds you between the two things and yeah.

SPEAKER_00 47:28

Very intrigued to where this goes. Yeah, yeah, yeah. Yeah.

SPEAKER_03 47:32

Well, okay, well, to the best of your knowledge, yeah, or if you were on the case right now, who who killed Laura Palmer? Who do who who do you think?

SPEAKER_00 47:42

I'm gonna sort of like I wonder if there's like a few I'm gonna say James. Are you? And uh because that's what it's setting you up that he could, but then I think it's also saying, but it couldn't be, could it? So I wonder if it actually is and it comes back around. So I'm gonna go James for now.

SPEAKER_03 48:01

That's interesting. So you're using your knowledge of television rather than the facts that are presented to you in the case.

SPEAKER_00 48:06

The facts that are presenting, there's so many people this that that clearly didn't. You could say okay, hold on. I mean, the one that's setting you right.

SPEAKER_03 48:15

He does set it up like a TV show. Yeah. Because he does stand in the middle of the crowd and go, like, I think this person has killed before. It could be anybody from this town, and it's like there's a shot of like the whole room, and you're supposed to obviously be like, Well, I wonder which one of these people it is, you know.

SPEAKER_00 48:30

I mean, the the most serial killer of them all, it will be the the piece of shit husband, the the one beater or psychiatrist with the Hawaiian tie. Yeah. So I'm gonna say James for now. Okay. Because I'm quite cool. Yeah.

SPEAKER_03 48:44

And he's very cool as well. He's quite cool. Although he always looks confused. He has that one facial expression. Yeah. Yeah.

SPEAKER_00 48:50

And I don't trust that he hasn't dyed his hair.

SPEAKER_03 48:53

Of course he's dyed his hair. I've never seen anything blacker than his hair. Do you think they're going for like a James Dean thing and realised his hair wouldn't do that? Do you reckon? Because it's just it's way too fluffy, isn't it? Yeah. Isn't he supposed to be like a greaser? I think so, but it's kind of just sprung up. Yeah, yeah, yeah. Yeah. He looks like one of those chia pets. Yeah. You know, when you grow the and you have to cut them.

SPEAKER_00 49:15

Do you know how I know about chia pets?

SPEAKER_03 49:16

Because I just said it just then.

SPEAKER_00 49:18

Wayne's World. Wayne's Well, Wayne's World 2. They're watching uh TV. Yeah. Uh somebody is, and there's an advert for it on there. Could be the titular Wayne. Hey, it might be.

SPEAKER_03 49:32

In his little world. So we're going with James. I don't I don't buy it. Like, I I don't know if he could lock two women in a train car and torture them. I don't know if James has got it in him.

SPEAKER_00 49:44

I know, I know.

SPEAKER_03 49:45

But hey, it's uh yeah, yeah, I know, I know. I don't think we've met all the characters yet, though, I will say.

SPEAKER_00 49:51

That's fair. Yeah, I mean that's the other thing. None of them is probably the answer. Yeah, yeah. And as you said, it becomes less and less important. So I didn't say it became less and less important.

SPEAKER_03 50:03

I said that was their pitch.

SPEAKER_00 50:04

Okay. Well, should we find out Should we find out next week? Should we find out next week?

SPEAKER_03 50:09

Fucking pro podcasting. Yeah.

SPEAKER_00 50:13

Yeah. Well maybe we won't find out next week, but let's find out some more information. Do you know what?

SPEAKER_03 50:16

I'm gonna tell you, I'm gonna this is slightly spoilers. You do not find out who the murderer is in episode two.

SPEAKER_00 50:25

Well, yeah. In that case, then uh everyone needs to watch episode two.

SPEAKER_03 50:30

Yeah, let's let me find out what that's called. Um that has it definitely has a name. Uh uh Professional Podcast. Thank you. Uh it's called Traces to Nowhere.

SPEAKER_00 50:47

Whoa, yeah. Listen uh listen to and watch with your eyes and ears uh Traces to Nowhere, episode two of Twin Peaks, and we will be following immediately on from watching that next week. What was that sentence construction? Everything you've ever dreamed of.

SPEAKER_03 51:06

We will be immediately following on from that next week.

SPEAKER_00 51:11

Thank you very much. I have been constructed purely by AI, and then you just found out. As soon as we have like a professional bit of podcasting to do. Oh, we have to fall in. You just crumble. You just watch episode two, because we bloody are.

SPEAKER_03 51:26

I hate that. Yeah.

SPEAKER_00 51:28

Are we on socials? We're on socials and uh at Welcome to Twin Peaks Pod on all of that.

SPEAKER_03 51:33

Yeah. I should set that up really. Probably should. Come and say, uh come and say hello, but like not too much, you know? Yeah. I know exactly what you mean. Yeah. Not too much. How do we end these? Oh, well, do you know what? We didn't get a resolution on what the coffee quote actually is. Oh, good point. So at one point he said he had uh.