Realization Time

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 seventh episode of season one - Realization Time. They talk about the morals of the 90s leading man, digital filmmaking, and Liam Neeson's special skill.

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 season finale of Twin Peaks - The Last Evening.

In the meantime…
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Transcript

SPEAKER_02 0:22

Mysterious.

SPEAKER_01 0:26

Twin pigs. Twin pigs. Twin picks. That's not how we start. That's not usually how it's not usually how we start. Wasn't that mysterious, though? It's getting real mysterious and there's so much sleuthing now. It's like there's like detective undercover stuff going on.

SPEAKER_03 0:41

And like I guess um costumes. This is definitely a wig heavy episode.

SPEAKER_02 0:47

Oh, it was, wasn't it? Yeah. It's interesting. I guess it's mystery is nothing new. Detecting is nothing new. Because I guess the whole thing feels like people are in each other's business, you know. Yeah, yeah. But then I suppose when you have James and Donna sneaking into someone's apartment whilst Bobby follows them.

SPEAKER_01 1:12

Yeah.

SPEAKER_02 1:13

I suppose that's a little detective-esque. Yeah. And then you've got Cooper and Big Ed going undercover at one eye just at the same time that Audrey is going undercover?

SPEAKER_01 1:24

I was gonna say she there was a lot of Audrey doing some sleuthing business all over this episode. There was a lot of Audrey in general. Well, yes.

SPEAKER_02 1:33

Is Dale Cooper the only leading man of the nineties to find a naked 18-year-old in his bed and go, we should be friends? This is inappropriate.

SPEAKER_01 1:45

You're saying if that was Mulder, we would have had half an hour of a bit of a very different uh story.

SPEAKER_02 1:50

Yes. Yeah, yeah, yeah, yeah. God, do you remember that episode of the X-Files where he um he gets involved with all the sexy vampires?

SPEAKER_01 1:56

Yeah, I do.

SPEAKER_03 1:56

Yeah, it's weird that that one would stick in your mind, isn't it? Isn't it?

SPEAKER_02 2:00

Of all the X-Files, you must have seen like 208 episodes of the X-Files or something. Something like that. And uh that's the one that you're like, yeah, I remember that one. I remember that one really vividly. Yeah. We're not here to talk about the X-Files though. Mulder the vampire, carry on. What? Like Mona the Vampire. Mulder the vampire layer. Oh, I see. I thought you were doing just I thought I'd misheard you. I thought you just said Mulder the Vampire. Like Mona the Vampire. Hey Mona. Hey. Uh welcome to Welcome to Twin Peaks, a beginner's guide to Twin Peaks. Did you know that? Is it? Yeah. Who'd have thought? I think we've said that before, right? I'm not a beginner anymore. You kind of are. We are only on episode six. Well, that's not true, actually. We're on episode eight of our podcast, but we're on the seventh episode of the show, which is called episode six. Although we are calling it Realization Time. Because that's the title of the episode. How what what?

SPEAKER_01 2:56

What realisation did we come to? I have no more like every episode of Twin Peak so far, there's there's more questions and answers.

SPEAKER_02 3:04

There's more questions and answers. One note is there. Do you know what I was thinking about this? It's actually, it feels um it feels fairly organic. It does feel like you're uncovering things that have always been there. Yeah. Because I know with a lot of these TV shows, and I haven't actually really seen it, but what I hear about shows like Lost, or actually, if we're talking about the X-Files, right?

SPEAKER_04 3:29

Yeah.

SPEAKER_02 3:30

What I remember about the X-Files is it always felt like anytime a new piece of information was dropped, it was because they'd just come up with it.

SPEAKER_01 3:40

Yeah, they've written it.

SPEAKER_02 3:40

There's that whole like there's the fourth and fifth seasons of The X-Files where it goes back on for back and forth over whether or not aliens even exist. Yeah. And some of that is because you can see they've run out of ways to tell the story that they were telling. Um I don't get that feeling from Twin Peaks yet. All of the stuff that we uncover about the burning of the sawmill and who's in on it and who's not and who's doing what feels like it has been there the whole time.

SPEAKER_01 4:06

It's a natural progression. We're just finding out more information about that thing that we already know is happening.

SPEAKER_02 4:11

Yes, but it just it I it feels organic in a way that a lot of other TV shows don't, where it feels like scripts become so additive because you have like because you write them sequentially. And Twin Peaks was written sequentially as well. Right, okay. Which is how you add ideas. It wasn't like we've got eight scripts for the first season, let's go make it. It was written as it went, like a lot of TV shows.

SPEAKER_01 4:31

Like you mean at the end of an episode they don't just suddenly introduce something completely out of the blue because they thought of a good idea and therefore they try and then tie that back so far. Actually, it's not that wacky really.

SPEAKER_02 4:45

Certainly not for the main storyline, but there is I I point out in the middle there's a great scene. Because I said to you, it's a great scene. But where you find out yeah, you find out that um Nadine's patent for silent drape runners has been rejected. And we needed that. Yeah, now why did we need that? I don't know. I don't know why we needed that.

SPEAKER_01 5:09

I think we needed to return to Ed and Nadine after the scene where uh Ed and the other person who I forgot the name of, of course, the waitress. Of course. Where they kind of uh parted ways. Norma. And they talked yeah, thank you, Norma. They kind of talked about their various partners. I think we needed to see him go back to his partner to kind of ground Ed after that.

SPEAKER_02 5:30

Yes, that's true. We also need to be reminded that there are there's a home life that Ed has, and so there are stakes to him going undercover over the border as part of the Bookhouse Boys. I suppose we need that.

SPEAKER_01 5:41

And to give a kind of contrast between whatever happens to Ed later.

SPEAKER_02 5:46

He turns into like a different guy. They put that moustache on him and he becomes a wild animal. Uh anyway, sorry, what were we talking about? Yes, we're talking about uh Realisation Time, Realisation Time, which was written by Harley Payton. I think this is the third episode written by uh Harley Payton. Uh it's directed by Caleb De Chanel. Ah. Zoe's father.

SPEAKER_01 6:07

Really?

SPEAKER_02 6:08

Yes. Genuinely. Genuinely. Okay, cool. Yeah. Um it was aired on uh May 17th, 1990.

SPEAKER_01 6:15

Have we ever said when it was aired? No, but I like it. I think we should start doing that. 1990. What were you up to in May 17th, 1990? I had just turned one. Oh, congratulations. Happy birthday.

SPEAKER_02 6:26

Yeah, yeah, yeah, yeah. Thank you. Thank you. Um 90, yeah, 1990. It really was a different time. The the department store in this looks like a nineties department store. Oh, look at the nineties. Actually, 1990, and we're only five months into it when it airs. That's an 80s department store, then, isn't it? Yes, it is. It's not it's not a nineties department store, which is really interesting. And we we come up on uh with this on our come up against that on our music podcast all the time. Which is like yeah, that sounds 70s, but it's like 1971, so actually it kind of sounds it technically end of 60s. Yeah, yeah.

SPEAKER_01 6:58

Well this would have all been filmed and written in the eighties.

SPEAKER_02 7:01

I think so. I I think I think the production did leak into 1919.

SPEAKER_01 7:05

Yeah, eventually it will, yeah, I guess at some point.

SPEAKER_02 7:08

Um I also I got that whole like ah, the nineties thing from the lawyer that comes to uh visit um and I'm forget her name. I forget her name. Mrs. Martel Catherine? Catherine. Um and I was like, oh, this would have been a Zoom meeting or an email today. And and wouldn't I I would love to have a job because think about what that guy's I started to think about that guy's life. You did zone out, actually, you didn't pay attention to any of it. You're looking out the window travel expenses and stuff. Because I was like, there's no way he's like local to Twin Peaks. No, no, no. I think he's come from like a bigger city. Yeah, what a job to like fly in, you know, to wherever nearby, drive into Twin Peaks, have that five minute meeting, probably stay as in the Great Northern that night. Yeah, and it would just all of that's gone for five minutes, yeah.

SPEAKER_01 8:01

We're talking two, if that's true. He also to sign some bits of paper, and obviously there's complications when we get to that, blah blah blah. Yeah, but then he just what that's him done for the day? He goes to has dinner. Wonderful, yeah, yeah. What's go get a drink at the bar?

SPEAKER_02 8:16

It's all it's just all online these days.

SPEAKER_01 8:19

Travel for work? This podcast is online these days.

SPEAKER_02 8:22

These days it is, yeah.

SPEAKER_01 8:23

Back then it would have been you'd have to travel, do the podcast.

SPEAKER_02 8:27

You have to come to my flat.

SPEAKER_01 8:28

Do the podcast like your flat at U.

SPEAKER_02 8:30

Yeah, to hear us talk about Twin Peaks.

SPEAKER_01 8:32

Travel expenses, yeah. A drink at the bar. Oh, it's a nightmare. Well, it sounds wonderful for the uh it is more expensive though.

SPEAKER_02 8:39

Oh, it's so expensive. It's so expensive. It's not a cost that I could see anybody wanting to front for this podcast.

SPEAKER_01 8:44

Also, can you imagine the podcast equipment in the 1989?

SPEAKER_02 8:48

Microphone Senator. Well, I guess it would be to tape. I guess really big we'd record to tape. Big computer. Yeah, and it would be brown. Yeah, yeah.

SPEAKER_03 9:00

You notice I'm wearing my Twin Peaks hat.

SPEAKER_01 9:02

Oh, you are wearing your Twin Peaks hat. I'll tell you what, it says Sheriff's Department, and then get this what it says underneath. You'll never you'll never guess what it says underneath, uh listeners. It says Twin Peaks.

SPEAKER_02 9:14

An action heavy episode, I would say. Not car chases and shoot out. Although there's some there's some gunshots.

SPEAKER_01 9:20

But there was like stakes for everyone, right?

SPEAKER_02 9:23

It's all quite except for that scene where we learn about the patent for the drape runners. Which is important. But that that was the only scene where I was like, there's no stakes in that. I I like that it was there because obviously you need to retain the soap opera element that I think is so important to impeach. Uh and I think that's almost it's almost a mark against this episode that it's so like investigative, it's so story-driven. Um which I think you lose some of the the vibe that we'd like, and some of the weird Oh, because we're the vibe guys. Also, you miss some of the weird um soap opera stuff, you know? Yeah. We should have scenes of people crying because they didn't get the pattern for their drape runners.

SPEAKER_01 10:10

You know what I mean? Yeah, we should. Yeah. We deserve it. Good boys. We do we've been great vibe guys.

SPEAKER_02 10:20

Come on. No do you want to change vibe guys to the good boys? I'm I'm happy with that. I don't mind being the good boys.

SPEAKER_01 10:29

I don't dislike it.

SPEAKER_02 10:30

It could be like a secondary nickname for us. Yeah, you can have both t-shirts, can't you? Yeah, yeah. Go to wherever it is we're selling our t-shirts. Yeah, yeah.

SPEAKER_01 10:41

But no, we did I mean we did get talking about vibes. We did get some fucking rain. We got some rain. There was a lovely uh shot of a uh a lorry with some logs on it. Oh yes, the timber going past the diner with the mountains in the background. I never thought I'd like I'd I'd enjoy all that shit so much. Like there'll be various shots and it would be like a three-second establishing shot. I'm like, oh yeah, look, did you see the tree in there? Yeah, man.

SPEAKER_02 11:07

Well it's Alan Waif, isn't it? That's the vibe. It's that it's the whole vibe. And I, you know, I think I've always enjoyed that uh Pacific Northwest kind of vibe, the Twilight vibe, Pacific. Yeah, the specific Northwest vibe that we get in Twin Peaks. Yeah, yeah. Um I think it's lovely. It's also it's where the X-Files were shot, right? The X-Files were shot in Vancouver, which is very Pacific Northwest, albeit Canada rather than the USA. So all of like the damp forests and stuff that they explore in in X-Fires were filmed there. No doubt, because that's what Twin Peaks looks like. Sure, yeah, that makes sense. Because we're what, we're two, uh three years away from the X-Files, being made in 1990, something like that.

SPEAKER_01 11:49

Science of the Lambs is all shot there, isn't it, as well? Like that's a whole very similar vibe of the like I watched it recently, and it's all that kind of forests and small town and the F the FBI stuff. Yeah.

SPEAKER_02 12:05

Of course, the FBI stuff, yeah. Yeah, interesting. Um it wasn't that interesting.

SPEAKER_01 12:12

No, I like to say things and then I tell myself that it's interesting.

SPEAKER_02 12:15

It was it was fairly interesting. Tell you what, in terms of vibe, because we are the the the vibe guys and the good boys. Um Good vibe boys. Yeah, I can't really say like oh, speaking of vibe, because we're the good boys, but it doesn't really make any sense. The opening shot of the episode is a shot of the moon. Yes, it was of the half moon, and you're just like that's how I want to be setting it up. Yeah. The moon side boob. The moon side boob, exactly. And then the first scene, let's talk about the episode. Of course. Um it was a fun episode in a lot of ways.

SPEAKER_01 12:45

Had a lot of fun.

SPEAKER_02 12:47

Did you had a lot of fun? I did. Wow.

SPEAKER_01 12:49

Did you notice I was just squirming with fun? No, I didn't notice.

SPEAKER_02 12:52

I thought you had like worms or something. Um so obviously we I don't know if this is this rare or not. I can't think of another episode where this happens, and all sorts of listeners will get in touch with us on social media to tell me how wrong I am. Of course. I don't remember an episode of Twin Peaks opening exactly where the last one closed.

SPEAKER_01 13:10

Right. Yeah, yeah, yeah. So so in the world.

SPEAKER_02 13:13

We basically pick up halfway through a conversation, right?

SPEAKER_01 13:16

Yeah, yeah, with uh with Audrey in bed and Dale Cooper sat at the end of the bed. I suppose we've skipped 30 seconds.

SPEAKER_02 13:22

But yeah, it was what happened in that 30 seconds, you know? Anything could have happened. I think he sat down. Yeah, oh yeah, yeah, fair. Yeah.

SPEAKER_01 13:30

And then he rejects her and says, We should we you need a friend.

SPEAKER_02 13:34

Sorry, I'm taking a drink. I don't feel like he rejects her. I mean I think he moves the situation into a more appropriate uh place. He says, like, when he took on the job of an FBI agent, and he is the FBI, but when he took on that job, he uh committed himself to a certain set of values, right? And it would be inappropriate. And he I think you know he's walking a line here. He does specifically say it's not because he doesn't find her attractive. Yeah, yeah. But he's like, there's just you know, we can't do it.

SPEAKER_01 14:06

There's a difference between what I want and what I can do, I think he said.

SPEAKER_02 14:08

What I want and what I need. What I think which is very different to what you said. Yeah, yeah. And then I think he figures out that obviously there's a difference between what she wants and what she needs, and what she needs right now is a friend. Friend. Yes. So I think he tries to get her to uh to open up to uh him. A scene that we don't see.

SPEAKER_01 14:32

Yes, he says, I'm gonna get some fries and we'll talk. Yeah. And then we that's it. I think I think we assume that it happens. We also assume that uh one or we don't assume that she seems quite actually content with uh that situation, which is nice.

SPEAKER_02 14:49

But also it doesn't seem like she told him enough that he knows she's gonna do this surreptitious undercover one-eyed jacks kind of work.

SPEAKER_01 15:00

Doesn't she say something like I've got secrets?

SPEAKER_02 15:03

No, she says Laura has secrets. Are you listening in in this episode at all? What's going on?

SPEAKER_01 15:07

She says, Well, I can't tell you my secrets, and then he says He doesn't have any secrets. He doesn't have any secrets and then G says Laura does. Yeah, yeah, yeah, yeah. So yeah, actually I'm listening to that. Um Yeah, so but I assume that that conversation really didn't actually go further than this is what I'm planning to do. I guess. Uh because yeah, they wouldn't have hold on. All ended up at one-eyed Jack's. Uh a sign that you were like, it's very very on the nose.

SPEAKER_02 15:33

Very on the nose with a one-eyed Jack. Yes. Yeah, yeah, it's very clever. I actually I guess I didn't really put together the c the whole card thing. What? I don't really I'm not really sure. Oh, fair enough. Not really sure. I'm not actually that clever. No I just I come across like I am on podcasts. Do you? No. Um and then so the the big kind of the overarching plan for the episode, or the thing that they're focusing on, and actually we only get halfway through it, is this idea um that Cooper and Harry S. Truman, the sheriff, that's his name, is easy to remember. Um want to infiltrate one-eye jacks. They have enough evidence at this point the the chip, uh the chip from the from the casino. From the casino that was in Laura's stomach. Um the fact that uh they found evidence that is it is it Jacques Renault and Ronette Pulaski and Laura Palmer and Leo Johnson were all in the cabin at the same time. They have evidence of that. They know that Jacques Renault works at One Eyed Jack's, so they're gonna go see what's going on.

SPEAKER_01 16:49

And the log let one of the logs the log said something about two women and two men.

SPEAKER_02 16:53

That is also true. Yeah. The log said something about two women, two jackets. The log said that that's really helpful. Now that that we got from the recap. I wouldn't have remembered that necessarily. Yes. Necessarily. Um yes. Now, obviously, One Eyed Jack's is actually over the border, it's in Canada. Yeah. So it's a little bit outside the jurisdiction of the sheriff and even the FBI. Yeah. Do you know who it's not outside of the jurisdiction of the vibes, guys? Oh, sorry. Um the Bookhouse Boys.

SPEAKER_01 17:24

So many clubs are all at war.

SPEAKER_03 17:27

I would not want to go to war with the Bookhouse Boys. It's not the full compliment of the Bookhouse Boys. I see they left out James, which is obviously a shame. Uh would have done the same. He's on his own he's on his own side.

SPEAKER_02 17:41

He's on he's on his own uh own little side mission. Side quest, yeah. They bring in Ed who looks incredible. Yeah. The red cowboy shirt, the bolo tie, very excited about money. They put a wig and a moustache on him, and his personality completely changes. Or does it? Is it just it's bringing it out another layer of the onion? But we'll talk we'll talk about that uh later. Um I love the idea that uh Cooper has access to just 10 grand from the from the bureau to just gamble. 10 grand?

SPEAKER_01 18:15

I thought I recognized I thought that's what you said, but I thought about it after it's like can it be 10? And then he just gives Big Ed 300 because Ed's like, well, I'm not sure about this, and what do you look like? And then he goes, How about 300? He's like, Yeah, I'm in. I'm sure about this. I am on board.

SPEAKER_02 18:29

He loses it all though, which is quite funny. Um, yeah, he just has 10 grand. Just just yeah, that's like requisitions, I guess.

SPEAKER_01 18:36

He's like when I gamble with the Bureau of Money, I always tried to put 10 to 15% back in. Yeah, yeah, absolutely for him.

SPEAKER_02 18:41

So he was gambling with $9,700. Right. And Ed had $300. Yeah. Bless him. Um, and we also we find out that Leo is alive.

SPEAKER_01 18:54

Yes, of course.

SPEAKER_02 18:55

So big, big, big uh I was gonna say hangover, but it's not the right word. Uh cliffhanger from last week was the shot heard round the world. It was as Shelley Johnson aimed her gun and uh pulled the trigger.

SPEAKER_01 19:09

And as I said in the last episode, he's off camera, yeah. Yeah, the way they shot that was very But then the the reveal of it, he he's just sat there in the van, you're like, oh.

SPEAKER_02 19:21

Yeah, outside, right? Yeah. He's outside because he watches Bobby go into the house, takes aim at him with his sniper rifle, so we know he's got a sniper rifle, and then immediately on the radio hears that they've arrested the bird. Yes. He must be arrested. He's Julie, not arrested, take in custody of taking custody alive. They couldn't find the right kind of cuffs for it. Yeah, but they do have the bird, and the plan for the bird is to nurse it back to better health, at which point it will feel playful again, so it will recount the details of the evening because that's their witness, is this fucking bird.

SPEAKER_01 20:00

When you when you break down the episode of the the steps that people have to go through for their plan to work, it's it's quite bizarre. Like we we get some more of the James stuff. It's like, yeah, but wasn't there another way?

SPEAKER_02 20:13

It's it's never Occam's Razor. It's never like the easiest way is the best, or the most obvious way is them is is the truthful one. Yeah. It's always like convoluted. Like I was gonna say, like we haven't we've only hit on little tiny bits of like true the true like Twin Peaks weirdness that it's famous for. Yeah. Like the first season's actually pretty kind of kind of locked down, kind of uh interesting, okay. Kind kind of um I don't know, I just I I just don't think it's as as weird as you might think it was that coming in. No, it's not, right? No.

SPEAKER_01 20:51

Um I think the weirder stuff is the Laura Palmer's dad. Come on, help me with the name.

SPEAKER_02 20:56

Uh Leland Palmer. Leland Palmer. Laura Palmer's dad is fine. People know who you're talking about.

SPEAKER_01 21:01

Um when when he's doing the dancing stuff and the dream sequences, obviously. Right. Uh and the um Bob in general, probably. Bob in general, yeah. And so Cooper's dreams. Yeah. But that's that's been and the Log Lady, like one scene. Yes. Um actually that's accounted for what ten minutes worth of Probably. If you add it all up, it's less than a quarter of an hour, isn't it? And I thought it'd be a lot of that every episode. Right. And a lot of surreal imagery. Yeah. Um, but actually, it's been relatively straightforward. Straightforward and linear.

SPEAKER_02 21:36

Easy to follow. Yeah. Having said that, as we just said, their witness is a bird that they need to nurse back to health so it's in a playful mood so that it will recount what happened in the cabin that evening.

SPEAKER_01 21:49

It's easy to follow, it's absurd. Yeah, yeah, yeah.

SPEAKER_02 21:52

But it's not it's it's quirky. Yes, yeah. Right? Rather than strictly like Twin Peaks. It's quirky. It's quirky, man.

SPEAKER_00 22:01

That's what you should put on the poster. It's it's quirk chungus. What? It's quirk chungus.

SPEAKER_02 22:05

Oh, thank you. Um obviously Shelley tells Bobby that uh she shot him. Yeah. And is worried that he's gonna come back and kill her. Because he would be.

SPEAKER_01 22:16

Yeah, that well, he was waiting outside her house with a gun.

SPEAKER_02 22:20

Good evidence would suggest she shot him in the arm.

SPEAKER_01 22:24

Yes. There is a bandage. Yeah, yeah, yeah. So she did hit him. Yeah. So obviously he must have just be because they don't really explain what happened, and she's like, I shot him and he screamed like an animal. Yeah. I assume he scurried away. Like an animal. Yeah, I guess so. Yeah. But he just leaves and that's the last she saw the ribbon.

SPEAKER_02 22:44

You would go back into the house where you know someone has tried to kill you. Yeah, of course. You know what I mean? Yeah. You probably would sit in a truck just outside waiting to pop him off as they walk out.

SPEAKER_01 22:54

I guess they just assume the audience isn't thick like me and actually can put two and two together and think, well, he was outside after he got shot. Maybe he went back outside. Yeah. Yeah. But he does seem to be literally just waiting outside. So I guess she's literally just been sat in there the entire time.

SPEAKER_02 23:12

I couldn't tell you how much time has passed. Yeah.

SPEAKER_01 23:16

Hours, probably? I guess so. It's night time. Yeah.

SPEAKER_02 23:20

And now this is the next morning, right?

SPEAKER_01 23:21

Yeah, yeah.

SPEAKER_02 23:22

Yeah.

SPEAKER_01 23:23

Right? Yeah.

SPEAKER_02 23:25

Yeah, I think that's right. Yeah, that feels right. Um now obviously when he finds out that they've got the bird. They've rested the bird. He shoots it.

SPEAKER_01 23:35

Yeah.

SPEAKER_02 23:35

Yeah. How did you feel about that?

SPEAKER_01 23:38

A bit sad. A bit sad. Because it was it was it was dehydrated and it needed nursing back to health to get into a playful mood. It got into a playful mood and was immediately obliterated by a sniper bullet.

SPEAKER_02 23:49

Yeah, yeah, yeah. All over the doughnuts. It's such an odd plot point in what is essentially a show about an FBI agent trying to catch a serial killer. Yeah. Or as far as he is aware, trying to catch a serial killer.

SPEAKER_01 24:04

The man shot the the shot the bird because the bird was their witness? With a sniper rifle through the window.

SPEAKER_02 24:09

Because I also felt sad and then I thought he just shot a bird. Like it's it's not, you know. Why do I why do I feel sadder about that than I feel about Laura Palmer's death? Well I was gonna say, is that the first sense of innocence?

SPEAKER_01 24:23

You know Is that not the first death since Laura Palmer?

SPEAKER_02 24:29

Yeah, maybe it is.

SPEAKER_01 24:30

Yeah. Yeah, yeah, yeah. There you go, that's why death sad.

SPEAKER_02 24:35

Potentially both at the hands of Leo Johnson. Oh, right? Bloody hell. Yeah, I think uh obviously there is there's enough on the tape recorder. In what is quite an eerie scene, it started um I mean this is such this is such the dichotomy of Twin Peaks is that like you're listening to a tape recording of a chilling recreation of the night that Laura Palmer was murdered from the voice of a bird. I know it's such an odd thing to have to cognize as you're watching it. Yeah. And I do think like it's a good job it's on the tape recorder rather than you're watching the bird say it, you know.

SPEAKER_01 25:19

Now it I mean it all worked out. Yeah. The bird is saying, Leo, stop it, you're hurting me, or whatever. You can't use that as evidence for anything.

SPEAKER_03 25:34

You also can't use Cooper's dreams as evidence for anything, but it seems to be the primary thrust of the investigation at the moment. But yeah, that I mean that never gets it.

SPEAKER_02 25:42

It's the fucking dream he had about two guys that live above a convenience store, one of them's got one arm, one of them's evil incarnate, and the the fucking evidence they have to chase them with is the the ramblings of a bird. I know I know, but how do they know it's even from that night? Maybe Twin Beaks is weird, actually. Yeah, maybe it is. You know, when you break it down like that. Um what else is going on in this episode? Oh, well, you got you got the the kind of resolution to the tape that Maddie found in Laura's bedroom, yeah. Um, and they listen to it uh and they figure out that the tape it's a tape to Dr. Jacoby. Yeah, she obviously records her thoughts, they talk about them in session, seems reasonable. Uh my therapist has never asked me to do that. I've never known a therapist ask anyone to do that. But also, American therapy is mad. Like you can just text your therapist and they'll like engage with you, is what I've heard. Or maybe I just understand that from American media, but that's insane. Yeah, that's it. Like we have very strict, like this is the time to we talk for an hour. If I bump into you in the street, we say hello and nothing more, yeah. Kind of thing, rather than making tapes at people.

SPEAKER_01 26:53

But then also the relationship between Laura and Dr. Jacoby was uh less than uh he's not as professional as Dale Cooper, let's put it that way.

SPEAKER_02 27:03

No. Yeah, he was clearly, you know.

SPEAKER_01 27:05

And she was making tapes in private to him.

SPEAKER_02 27:07

Sure, yeah. But there's an empty case there, yeah, and the tape seems to be from the night that Laura Palmer died. So they obviously want to get hold of that. Yeah. And I was racking my brains, and I think the easiest way that they could do that is to get the identical cousin of Laura Palmer to put on a blonde wig and then make a phone call, having rehearsed how to uh use Laura Palmer's voice from the tape that they have uh to Dr. Jacoby to say there's a videotape outside your front door. Um if you watch that uh you'll see that Laura Palmer is obviously I'm Laura Palmer and I'm still alive, and here's today's newspaper. Um he gets fascinated by the gazebo uh and he drives out to meet her, which enables James and Donna to get into his apartment to look for the tape. Is it the only way they could have done it? I was racking my brains to think of the easiest way, and I'm like, well, you need a blonde wig. Um that's the first thing you need. That's the first thing you need. But again, like in the fucking in the One Eye Jax infiltration plan, the first thing Dale Cooper's like is like, we don't need a brown curly wig.

SPEAKER_03 28:16

I'm not wearing one. Ed's wearing a wig. I've got a mustache indistinguishable from his normal hair.

SPEAKER_01 28:24

Wigs. Where did it get in the wigs? I mean, I appreciate they were FBI wigs.

SPEAKER_02 28:29

But is that additional to the 10 grand or did he take it out of the 10 grand he's got to gamble?

SPEAKER_01 28:34

That's a good point. Uh but I mean it came with all the sleuthing equipment and all the audio stuff. But where did James where did James get the blonde wig?

SPEAKER_02 28:41

I don't know. Did they sell Laura Palmer wigs? Maybe there was a gift shop in Twin Peaks that was trying to cash in on the death of Laura Palmer.

SPEAKER_01 28:49

Laura Palmer costumes.

SPEAKER_02 28:50

Well, no, but if you go to the if you go to the place where Twin Peaks was filmed now, there's loads of gift shots shots that sell Twin Peaks. There's loads of like t-shirts that have Laura Palmer's face on it says who killed Laura Palmer, you know, that kind of thing. Yeah. I can only imagine that in the Twin Peaks universe, there must be one guy who was selling cashing in. Cashing in on the death of Laura Palmer and was probably selling wigs of her hair.

SPEAKER_01 29:12

Well, that's a good point. I mean, I mean, you do see her, you get this shot. It's a good point. Of her they established the fact that she's got a wig and a bag as well. Like Do they? Well, she's coming down the stairs, and that's when you get the the really interesting shot of Laura's dad.

SPEAKER_02 29:26

Incredible shot of Laura's dad. An incredible shot of Laura's dad. So uh this is when they're sneaking out to do this, uh to do this plan with Dr. Jacoby. Um she kind of comes down the stairs very quietly, camera pans, it let it stays on the lounge and it walks past her, and then you can make out this silhouette of uh of Leland Palmer. Yeah. And as he like turns his face, they've set the lighting up so that it illuminates him. Yeah. And he's just moving into the light. And then as he gives her some kind of look of some kind of suspicion. I'm not j I'm genuinely not sure what that look is and what he's thinking.

SPEAKER_01 30:08

It's just a general anguish of just the thing. He sat in the dark just staring forward, and then he just looks, and then I guess it's just to establish that he knows she went out to do something, and I guess that might be important at some point.

SPEAKER_02 30:20

And then but when he's finished looking, he turns his head again and just recedes back into the darkness as a silhouette, and it's an incredible shot. You don't TV doesn't look like that, you know, especially these days where it fucking looks flat and digital.

SPEAKER_01 30:39

I was watching uh the boys re-watching that before the last next season comes out. You know the superhero thing, right?

SPEAKER_02 30:44

I'm aware of it.

SPEAKER_01 30:45

Every shot uh is Um like in a conversation. Grey. No, they are in focus and the entire background is blurred out. Right. They're in real life locations, right? You can see they're outside, and they've chosen to completely like portrait blur, like as if you were on a zoom conversation you've blurred the background.

SPEAKER_02 31:04

That's n that's fairly normal.

SPEAKER_01 31:07

It was once I noticed it though, like you're outside, like show it.

SPEAKER_02 31:10

You may as well just be against a flat background like that is to do with focal length and all that stuff. That's to um so what it is is to I I think is to mimic the look of film. Right. Because if you naturally zoom in on someone's face, film blurs the background. Yeah. It's only when we've kind of got into digital that you started having like infinite focus. Have you ever seen Miami Vice? The film. Uh yeah. Cool. So that was one of the first films the remake with Colin Farr and James. No, oh because I didn't see it till recently. Really? Yeah, yeah, yeah. I'd never seen it. You're thinking of someone else. Oh, I'm so sorry. Bastard. Um there's that really odd shot of them stood on a rooftop, but you can see the whole city behind them. Right. And that's really odd. This is the guy who directed Heat and has similar shots of them stood looking over the city, and the whole city is in that, it's called Bokeh, right? B-O-K-E-H. Oh, it's where lights start to like blur and morph and stuff. The whole city looks like that, it looks like a sea of lights. And in Miami Vice, it's digital, infinite focus, and it looks really weird. We're used to it now. Miami Vice was like a weirdly um innovatively shot film, if that's if that's interesting to you. Yeah, it isn't it. Because it was shot on digital before anybody was really shooting on digital. If you remember Collateral, which is the same director, that was shot on digital before anybody was really shooting on digital loads. Like that's 2004. It was shot on like DV, I think. Really? Yeah, I don't think you can upgrade that movie to 4K. Oh, because it just because of the digital. I think it maxes out at 1080. There might be a 2K intermediate. That's quite interesting. Yeah, yeah, yeah.

SPEAKER_01 32:56

So there's no film grains, there's no infinite way you can just keep going as much as like possible.

SPEAKER_02 33:00

Right, like with um 28 Days Later, was shot on the cameras that we used to fucking shoot short films on.

SPEAKER_01 33:07

So if you try and upgrade that, it's just gonna look yeah yeah, fake. Um, which is why they it's interesting they used iPhones for the the new ones, right?

SPEAKER_02 33:17

Right, because it's that's uh just another way of keeping that process going. Like we shot this on a Sony handheld digital camera 20 years later or 28 years later. The Bone Temple they shot on they shot on.

SPEAKER_03 33:31

Every sequel should be called The Bone Temple.

SPEAKER_02 33:34

If we're doing a trilogy, the second one's gotta be called The Bone Temple. Zootropolis 2, the Bone Temple. I watched Zootropolis Zootropolis 2 the other the other day, it's pretty mid, I have to say. I wish there was a fucking Bone Temple in that movie. The first one is really good, I think. Look, doesn't matter.

SPEAKER_01 33:49

We can't get too much into Zootropolis.

SPEAKER_02 33:51

We vibed too close to the sun.

SPEAKER_01 33:54

Which one's Daedalus and which one's Icarus?

SPEAKER_02 33:57

I don't know Icarus dies. Me then.

SPEAKER_01 34:00

Ah well then I get gifted real wings by a god.

SPEAKER_02 34:08

Good for you, man. Thanks, man. I've I've often uh hoped that my death would aid you in some way. Yeah.

SPEAKER_01 34:14

And you've always hoped it would be me gaining real wings over the wax ones.

SPEAKER_02 34:19

The point is when Peaks looks like a film. Yeah. Yeah, right. Because it's shot on film, right? Okay. Oh, sorry, another fucking example. Yeah. No, please. I'm watching the new season of Scrubs. Oh yeah. And it looks fucking abysmal. Yeah. Like actually, do you know what? The show, good. Is it? I think it's worth watching. They've actually, it's one of the few like legacy sequel things where they've actually cap recaptured the vibe of the of the first one. Like, I think it's genuinely got really funny moments in. I think it's really good.

SPEAKER_01 34:49

Okay. How do you feel about the new Malcolm in the Middle coming out?

SPEAKER_02 34:52

No interest. Okay. The sh it's shot like any other fucking TV show these days. It's got no shadows, it's got muted colours, you know, there's not much depth to the stuff. So I went back and started re-watching the old Scrubs. That motherfucker's shot on 16 mil. Is it? Yeah. Is it real? I was like, have they put artificial film grain on this? And I was like, I looked it up. No, Scrubs is shot on film. How weird is it? This needs to look epic. Yeah. No, but it does because it it the darkness, the shadows, and like the shots, and it's shot in 4.3. Oh, it looks fucking great, the original Scrubs.

SPEAKER_01 35:27

That's amazing.

SPEAKER_02 35:28

Treat yourself, it's on Disney Plus.

SPEAKER_01 35:30

Yeah.

SPEAKER_02 35:30

Uh go and have a look, and you'll see the film grain. I couldn't believe Scrubs was shot on film. He couldn't believe it. Anyway, I'm pretty sure this was shot on film. And that's why it looks the way it does. Also, you know, although he didn't direct this one, it is being over overseen by an incredible film director. Who's David Lynn? David Lynch. Yeah, we haven't even mentioned him this episode yet. Oh god. Um because I just I am so unsure about how much of him is truly in it, you know?

SPEAKER_01 35:57

Yeah, it's like his creation and other people are running with it, and he'll have some sort of creative. But remember, it's it's created by him and Mark Frost. And Mike uh Mark Frost wasn't in involved in this episode, right? So like Well, they're both showrunners. Yeah. They would have said yes to everything. Okay, right. So they go, We're gonna do this, and they go, Yeah, sounds good.

SPEAKER_02 36:16

Well, this is the thing I think I've what I've uh heard from the production process on Twin Peaks and for kind of David Lynch in general, is he's very much a yes and kind of guy. Which I think you can see in a lot of his films where like he'll have an idea and he'll go, Well, let's run with that. And he gets frustrated that he doesn't have enough time on certain sets when he's making films to quote unquote go dreamy with it. Okay. Where like there's a specific clip of him, I think it's from the making of Twin Peaks the Return, which maybe we'll get into at some point, because that's an incredible making of. If you want to watch a director like David Lynch work, that's all that documentary is. It's incredible. Um and he's saying, like, I hate that we only have two days in this location, I need a week to really like get into all of the stuff that I want to do. And what he means is he wants to improvise to the point where he gets to where he's going. Um so I think he's a guy that is like I mean, Bob is in Twin Peaks because of a mistake. Yes. You know, so he's a guy who's like, let's run with that, let's let's see what happens.

SPEAKER_01 37:20

Yes, and it's a major plot point after that. He's like a lead character in the world. We saw him once. We've seen him a couple of times for like a second or so. You can still find him. Yeah, usually in a mirror. Where the fuck did we get to uh in the episode? Uh uh Laura's cousin walked down the stairs. Yes, but we've got that's way at the end. Yeah, we're gonna say we haven't got into any of the old the the burning of the sawmill stuff. So nobody's getting horny over the burning of the sawmill stuff in this episode, which usually, whenever the sawmill being burned down is mentioned, yeah, that usually somebody's on top of the other person. That's true.

SPEAKER_02 37:58

It's like, oh, let's burn a burn the saw the fucking saw down. Yeah, it is it is a bit like that. Um what is going on with that? Harry knows that uh Josie was spying on Ben and Catherine in the motel from the last episode.

SPEAKER_01 38:16

Yeah, oh so there was still a bit of horiness because you saw a picture of it. Yeah, you saw a picture of the horniness. You skipped over the fact that there was uh some uh dodgy taxidermy, and then we got to that scene. Of course.

unknown 38:28

Of course.

SPEAKER_01 38:28

The fish got slightly bigger.

SPEAKER_02 38:30

This is this is the shit that I love. Like the the silent drape runners and his taxidermy woes like is is great. It's a lovely fish though. Uh season two is kind of more of the soap opera kind of kind of thing. Um where I I think also I think it's gotta be on their mind that they are like barreling towards a season full early next week at this point, and so they're like, right, we need to start wrapping some stuff up.

SPEAKER_01 38:54

And we are too.

SPEAKER_02 38:55

And we are, we are as well, exactly. Um all of that stuff uh is is complicated by the insurance guy, the lawyer who comes to uh meet Catherine because there's just one page that didn't have a signature on it, so could she please sign it?

SPEAKER_01 39:13

Now can you talk me through that? I thought I might need to. No, because I kind of get it. Like he is.

SPEAKER_02 39:18

Oh, yeah, no Steve. Yeah, no, I no, you get it. But for people that for people that I know.

SPEAKER_01 39:23

So explain to me like I'm thin.

SPEAKER_03 39:25

Do you know what I think would be better?

SPEAKER_02 39:26

You explain what you understand.

SPEAKER_01 39:29

So what I uh definitely know from it is that um it scuffered her pl her their plans to make money at the sawmill burning down. Because it it has to happen that night, right?

SPEAKER_02 39:45

Here's w what do you think those forms are? That's insurance, isn't it? On the sawmill. No. Oh he does say it's a life insurance. For her. For her. For Catherine. Yeah. Imagine a lawyer turning up to say that there was only one signature missing from a life insurance policy taken out on you by somebody else. Okay, yeah, very much. So what it I think what that says to me is that when Ben and Josie were in cahoots, the guy who owns the Great Northern Hotel and the woman who owns the sawmill. Remember it was odd that they were in the office together because you think they were enemies. Yeah. What they've actually done is taken out a life insurance on Catherine Martel.

SPEAKER_04 40:31

Yeah.

SPEAKER_02 40:31

And I believe the plan is that she will be in the sawmill when it burns down.

SPEAKER_01 40:36

Of course.

SPEAKER_02 40:37

So they can then collect what looks to be a million dollar life insurance policy on behalf of her. When she dies, they will get the money.

SPEAKER_01 40:47

Did they not think that she would have to sign her own life insurance thing?

SPEAKER_02 40:50

They forged all of the other signatures. There was only one signature of hers missing. Right. On the last page. Yeah. The rest were all forged. It's actually just clumsiness on their part. The lawyer did say it was weird when Ben Horn volunteered to get everybody's signatures. Yes. And so obviously he forged enough. Um he just missed the last page. There you go. He missed the last page.

SPEAKER_01 41:13

And she's like, think.

SPEAKER_02 41:14

Yes. Think. And then she goes to look at the fake book that she hides in her desk and it's gone. And we can tell it's gone because she goes, Oh. Another great. I don't know if that line was ADR'd actually. Blood. Blood. The one in this one is gazebo. Just little little inserts where they where people think the audience aren't going to understand what he's looking at.

SPEAKER_01 41:37

Another one I noticed of the audio insert is when Audrey's at the uh the um perfume counter and the lady with her back to the they've clearly audioed her in. Right. Okay. It was really, really obvious because there was a point where her head was half turned. She was like, I don't like your attitude. No.

SPEAKER_02 41:56

I try I try deliberately to not notice stuff like that. I do.

SPEAKER_01 42:00

It does take me out. I know, but I kinda I think David Lynch is taking you out of some stuff though. Do you think? Like I don't yeah, I like I I think some of like the Dale going boink on his nose and just stuff like that. Sure.

SPEAKER_02 42:11

I think I think like That feels to me like another thing that was like actually you're probably watching a blooper. Yep. You know, which is something that he did at the end of the take because the the written material had finished, and David Lynch was like, I'm gonna keep that.

SPEAKER_01 42:26

Yeah. Yeah, there's that, but then also like we're kind of got the soap opera vibe, right? So I think like a lot of it isn't clumsiness or anything like that, like that sort of thing. Because we're also alongside, I mean, we've got it on the TV right now, is the is the cast for Invitation to Love. Uh Lance Davis playing Chet, which who had a gun in this episode and shot someone.

SPEAKER_02 42:46

Uh I don't think it's necessarily clumsiness, but I also don't think it's not clumsy. You're you're re-watching Arrested Development right now, right? So that is an absolute uh field day for characters' lips not syncing up with what they're saying. Oh, there's a really, really obvious one. There's loads of really obvious ones, and it's just because they need it's all they've got and they need to impart the information in a different way, and I think that's what it'll that's what it'll be. Yeah, that's absolutely fair. Um I don't think he's deliberately trying to make a statement about soap operas or television by deliberately editing it in a weird way. I think that's uh I think he's made it a bit of a shit point. Um Thank you. Uh but I but I'm deliberately making shit points. Yeah, you're deliberately making a way I kind of need to. This is sort of a satire of podcasts in many ways. Oh yeah. Absolutely. And if we're doing podcasting badly, that's what we meant to do. That's what we meant to do. Because we're the good boys. We would be called the good boys if we weren't good at it. You know. Good five boys. And we are good at it. And we are good at it. We are at it. We are we are good at it. When Josie hangs up, because she's uh who's she talking to? She's talking to No, it's Buster. Sorry, Bert.

SPEAKER_03 43:58

She's talking to She is she talking to Ben? Yes. That's not a line. Who are you talking to?

SPEAKER_01 44:05

Sorry. Yes, she is talking to Ben.

SPEAKER_02 44:08

When she hangs up, Hank's there.

SPEAKER_01 44:11

Yeah.

SPEAKER_02 44:12

Everybody's in on everything, man. Yeah. Everybody's in on everything. Who knows where you know any kind of life insurance or sawmill insurance money is going to go? Who knows who's guilty and who's innocent? Who knows? Um, we're left with a little cliffhanger on that one. The other cliffhanger that we're left on, aside from um from Dr. Jacoby going to meet who he thinks is Laura, which is actually Maddy in a blonde wig. Um when James and Donna go up into Jacoby's apartment to try and look for this missing tape, Bobby, who's been following them because he's vowed to take care of James and Leo for Shelley, puts cocaine in James's motorcycles fuel tank. And there's another beautiful uh ADR line there, just in case you were confused about that. I think he says something like See you later, James. Like he uses the name ruin your motorcycle. James. Like you need to know that it's James's motorcycle.

SPEAKER_01 45:12

But yeah, we've got the shot of him watching them, but then there's somebody watching him and heavily breathing. Who did he watch? From a window.

SPEAKER_02 45:20

Bob. Bob. Okay. Bob. I have an interesting theory on that. I do. But the other cliffhanger that we're left with is Audrey Horn who uh turns up at the turns up at one eye jazz to talk to Blackie about being a new girl at One Eye Jazz. Because what she's done is she's taken it upon herself to do some more investigating. She hides she hides in a closet uh for a meeting between somebody else from the perfume counter and the guy who runs Horn's department store. So this thing I said, I think I said last week or some at some point, or I might not have said it, but I'm pretty sure. We're so good at this. We're the good boys. I I'm pretty sure I said like the guy who runs a department store might not even know about the uh because I said clearly he's recruiting them and you're like, I would be so sure. Did I say that? Yeah, so then this episode makes me look like a bug. Because he's a fucking scumbag. Yeah, yeah. He's a piece of shit. Um giving that girl a unicorn and a and a and a number, and um yeah, basically he grooms these girls to be um to work as prostitutes at one-eyed jacks, essentially. Uh, and that is called sex trafficking. Um, especially because they're going over a border. Anyway, um Audrey worms her way in there. Very clever little thing where she takes the unicorn to, you know, as as like a sign that she's like a cool person, that is another girl, and then takes the number, turns up there with a fake story. I mean, I don't know what her end goal is here, just to investigate, I guess, but she she has to become kind of one of the girls that sleeps with men in order to do that.

SPEAKER_01 47:04

Yeah, yeah. Because Blackie sees right through her story immediately, but then she kind of turns it around by tying a knotry stem with her tongue. Now, is that supposed to be sexy?

SPEAKER_02 47:14

Yes.

SPEAKER_01 47:14

Is it because she can do things with her tongue?

SPEAKER_02 47:17

That's right. Are you just discovering this for the first time?

SPEAKER_01 47:20

Well, I'm aware it's sort of a thing, but I never really can't but that just says to me is that uh it's just a bit gross because you said it just puts like a mushy stick on the table. Ooh.

SPEAKER_02 47:30

I don't think it's mushy. Have you ever put a cherry like stem in your in your mouth?

SPEAKER_01 47:35

Uh no.

SPEAKER_02 47:36

Okay. It's it's it's like it's like an apple stem. Right. But they're not mushy.

SPEAKER_01 47:41

Okay.

SPEAKER_02 47:41

Yeah.

SPEAKER_01 47:42

But that but that makes her go, you'd be a great sex worker.

SPEAKER_02 47:45

Right. You got some skills. Yeah. Yeah. Yeah, yeah, yeah.

SPEAKER_01 47:49

One particular skill.

SPEAKER_02 47:50

Like Liam Neeson. No, he had a set of skills. I wonder the cherry stem thing was one of them.

SPEAKER_01 47:57

I've got a very particular set of skills. Yeah.

SPEAKER_02 47:59

You've got a cherry. Yeah.

SPEAKER_01 48:01

Stood in front of some like Well, sex traffickers, yeah. In that movie. Yeah. Similar movies. Erotically kind of like biting a cherry in front of them.

SPEAKER_02 48:12

You see that story that um Liam Neeson reckons uh one of the horses from his previous movie recognized him. Yeah, yeah. I don't know. It always comes into my mind when I think of Liam Neeson and that that that whole thing of like uh the horse being like, there he is. There he is. He's my boy. Bloody Liam. Um we're left with the idea that Audrey Horn is going to essentially be sex trafficked. Yeah, and but infiltrate one-eyed jack, and that is happening at the same time that Cooper and Big Ed are at One-Eyed Jack's to go undercover and investigate Jacques Renault, their gambling. Ed has turned into some kind of horny monster. Right, who keeps making reference to like having like oh look under you?

SPEAKER_01 49:01

Oh, it's so fun of the scene where I mean like it's just Cooper's expression because they're undercover, and she's like, And what is it you do? Because he says they're Barney friends, right? Yeah, yeah. Well, I knew in I own a gas station. And Cooper's like not come up with anything. It is a good episode for Coop as well because the the scene with him and Harry uh after um Wow Uh Who's the guy who's been out of jail? Who's the guy who's come out of jail? Who's the guy no, he is it Hank? Yes. Yeah. Steals the lighter. Uh-huh. And then Immediately the police walk in. Immediately the police walk in, which is the light. But then you get that re I and I think we've been missing Bro time. Yes, I think you're right.

SPEAKER_02 49:46

Uh and that's what this episode should have been called. Not realisation time, bro time.

SPEAKER_01 49:50

Bro time, which is what we're having right now. Uh uh just the good boys having bro time. Um and he just says once a day, give yourself a presentation.

SPEAKER_02 49:59

Give yourself a present. That is a very famous scene from Twin Peaks. I see that retweeted. I loved it all the time.

SPEAKER_01 50:05

I loved that so much because I I missed that stuff.

SPEAKER_02 50:07

Yes. Now I think that is where and I'm touching you.

SPEAKER_01 50:11

Yeah, I know, thank you.

SPEAKER_02 50:12

That we're holding that is where you see David Lynch. Okay. I think David Lynch, his love of coffee is coming through. His love of cigarettes comes through into the like it's ridiculous to hide in a closet where you don't want to be found. Smoke and smoke. Yes.

SPEAKER_01 50:33

Maybe crossed my mind, but I was like, you can't get bogged down in these.

SPEAKER_02 50:36

You can't, you can't because it's about the vibe, and we're the vibes guys. But him like loving black coffee, no matter how shit the coffee is, and you know it's got to be shit from a diner, is a huge David Lynch thing. Right. Um he had his own line of coffee at one point. I think but uh I think everyone like everyone plays up how much David Lynch loves coffee uh to the point where there was like you know they did a an a sale of his estate on like it wasn't eBay, but it was it was auction, they auctioned stuff off. A really famous coffee YouTuber bought his coffee machine and made coffee with it because that's content because David Lynch loves coffee. When he passed away, I believe all they found in his cupboards was Dunkin' Donuts brand coffee, really shit coffee. But it's just like he just loves any any coffee, yeah. It doesn't matter. He just yeah, it doesn't matter to him. He loves black coffee, which I think is a Dale Cooper trait. Yeah, of course. Uh also the thing we were talking about earlier, the the the David Lynch's ability to kind of just go with the flow and be yes and that's how Dale Cooper investigates things. It really is, right?

SPEAKER_01 51:36

Yeah, it's just like I've got a hunch, right? I've noticed this, I've dreamt this.

SPEAKER_02 51:40

It's a holistic approach.

SPEAKER_01 51:42

I won't get into bed with the teenager.

SPEAKER_02 51:44

Right. It's it's it's it's it's a holistic approach to investigation rather than a focused approach to investigation, and I think David Lynch has a holistic way of making films and TV rather than a focused way of making films and TV.

SPEAKER_01 51:58

So you know when the angry guy came in for a bit in the like maybe the second episode or something where he was a real square into the book, kind of I wonder who he's supposed to be in David Lynch's life. I wonder if that's Mark Frost, right? Yeah. I don't know.

SPEAKER_02 52:12

I don't know. Uh yeah, he could be like a like a studio head or something like that.

SPEAKER_01 52:17

He's definitely someone he's come across.

SPEAKER_02 52:19

Yeah. Uh there that there's a real that there is an interesting read of Twin Peaks. There's about a five-hour YouTube video on decoding all of Twin Peaks, which you can't watch until we've done the all of the things, including the return. There is a read that the whole thing is a satire of TV or uh you know uh an in uh an exploration of what it is to make a television show or a film. Right. Um which I think is really interesting. I don't buy into all of it. I I I I buy into it as much as I think that all artists are in the art that they make, and every album is about the making of the album, and every film is about making a film. Like Christopher Noland's a really good example of films that are about filmmaking.

SPEAKER_01 53:04

Um I'm really looking forward to diving because I know no theories, I know nothing outside of this. I've I've seen some gifts and stuff before. Yeah, and I I'm so pure. Um but so I'm really interested to see all these theories and stuff because I just haven't been exposed to them.

SPEAKER_02 53:23

There's a really good argument that when we finish with the return, we just go back to the beginning and look at it from that angle rather than just being the vibes guys. Yeah. You know? I don't know. We'll see. Well, I don't like that. Yeah, I know it feels uncomfortable.

SPEAKER_01 53:36

But Jacques Renault is their dealer.

SPEAKER_02 53:41

Of cards. Yes, of course. So because he's also involved in drug running, and I'm just thought that might be confusing to a lot of people.

SPEAKER_01 53:48

Yeah, he's he's right, he's the blackjack dealer. He is. That's why Ed has to disappear because he knows him, right?

SPEAKER_02 53:54

Yes. So that is why that's where we leave Cooper. Yep. Um that's where we leave Audrey. It's where we leave Audrey. And the final shot is of the mysterious person who isn't Dr. Jacoby and isn't Bobby watching Maddy dressed as Laura Palmer. Yeah. I think it's Leland. Really? That look that he gives her when she walks out the door, I think he might be like, it's an 18-year-old girl, what's she up to this late at night? I will follow her. And then when he gets there, he sees his daughter. Yeah, oh god. Yeah. It could be. I genuinely don't remember. Yeah, no, but did you remember this episode? Yes, I remember this episode, yes. But I did I'm I'm not trying to lead you down a path of anything, but I could see grief taking that form.

SPEAKER_01 54:43

I mean, he already lives with somebody who looks identical to his daughter. If he comes across her dressed as her with the same hair, he's gonna lose his fucking mind. Yes. Oh god. It could be that. And that's what I think whenever he appears on the screen, unfortunately, is oh no. Yeah, just whatever. I've never seen someone look more grief-stricken, just devastated.

SPEAKER_02 55:07

Yeah, man. It's a it's a sad character, it's a sad character for sure. Um, but that is where we leave it. I'm I don't I honestly can't remember if uh if we find out who that is or not. Um it's just one of many cliffhangers as we move into the season finale. How are you feeling about the fact that we're coming up to the the finale of season one here? What are you expecting from it?

SPEAKER_01 55:28

Yeah, I had no idea how like I can't imagine it's gonna be a big like a big satisfying action-packed finale. Well they've got to bring you back for season two for a start. Well, there's that, I know, but like I guess we've got the conclusion of what's gonna happen in One-Eyed Jacks and what's gonna happen with um Dr. Jacoby meeting Laura. Yeah Why even bother going through with staying there and waiting for him? They only need him out of the office. It doesn't matter.

SPEAKER_02 56:00

Um They could have just said there was an emergency at the hospital. Yeah, you know, it didn't have to be that involved. We'll see. It doesn't matter. As we said, it's the only way. We'll see.

SPEAKER_01 56:08

Um yeah, so I imagine that you know that we're gonna have a fairly, and I don't mean it literally, explosive conclusion to those things.

SPEAKER_02 56:17

It was literally, the whole town just blows up. Blows up, yeah.

SPEAKER_01 56:19

Like at the end of Buffy. What? The healthcare opens under something.

SPEAKER_02 56:23

Oh, I haven't seen any of Buffy.

SPEAKER_01 56:25

I don't remember if that's true or not. Should we do a Buffy podcast? Yeah, there's none of those. Why not?

SPEAKER_03 56:30

I can't imagine there would be. Certainly none with exactly the same name as us. Absolutely not. I can't imagine that would happen. I can't imagine that would ever happen to us.

SPEAKER_01 56:37

Certainly not like several episodes into recording.

SPEAKER_02 56:40

Yeah, definitely not. Definitely not. Hello if you're listening. Um uh okay, so for the second to last time in this season, and we are gonna have a break between seasons, I'm gonna ask you a question. Who killed Laura Palmer? Leo. Okay. He was in the room. He was in the room. He was in the room, he was in the room. So he's the bird. Well, the bird's now dead, so let's hope it wasn't the bird. Well, otherwise there's nobody to prosecute. Uh, I imagine that we've left loads of threads uh uh open there, and I will remember them for the next episode as we usually do. Yeah, um, but I enjoyed the episode. Uh I'm looking forward to finishing it off. Um we're gonna do that right now. Uh, but our listeners will have to wait a week for next week's episode. Yeah. And I suppose uh that uh your mission, should you choose to accept it, is to watch the season one finale of Twin Peaks before next week's episode. This podcast will still disrupt in five seconds.