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PAN NICE AND HOT: Richard "Based" Brody pans Twin Memes 2017-05-23 05:29:19 Post No.
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PAN NICE AND HOT: Richard "Based" Brody pans Twin Memes 2017-05-23 05:29:19 Post No.
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PAN NICE AND HOT: Richard "Based" Brody pans Twin Memes
Anonymous
2017-05-23 05:29:19
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>he original “Twin Peaks,” which I watched devotedly when it was first broadcast, in 1990, was television that offered the thrill of a new David Lynch movie every week. From the very start it felt like one person’s brainchild, less in its storytelling than in its details, its tone, its moods, its images. “Twin Peaks” seemed to deepen and broaden, to extend and plumb the cinematic universe of “Blue Velvet,” making use of the devices of serial television as a source of invention—until it fell into the narrative lockstep of serial television. The inventions became devices, and then self-clichés, and I stopped watching.
>The first two episodes of “Twin Peaks: The Return,” broadcast on Showtime last night, offer only slight reassurance. Though they’re directed by Lynch, they play mainly as Lynchoid, like the work of a skilled and dutiful imitator of Lynch, who borrows elements of the original series and has also, in the meantime, attentively watched the Coen brothers’ “Fargo” (1996) but hasn’t thought much about renewing the art of directing.
>Almost all of the first episode and half of the second is exposition, and Lynch, who wrote them with Mark Frost (as he did the first two seasons), doesn’t do much to disguise, adorn, or enliven it. Lynch hasn’t directed a feature film since “Inland Empire” (released in 2006); I don’t know whether he filmed “The Return” sequentially but the first hour and a half feels like a filmmaker under cobwebs, working not merely tentatively but conventionally, following patterns rather than inventing, recording and divulging information rather than creating.
god i love this man
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Who is this guy?
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>The original “Twin Peaks,” which I watched devotedly when it was first broadcast, in 1990, was television that offered the thrill of a new David Lynch movie every week. From the very start it felt like one person’s brainchild, less in its storytelling than in its details, its tone, its moods, its images. “Twin Peaks” seemed to deepen and broaden, to extend and plumb the cinematic universe of “Blue Velvet,” making use of the devices of serial television as a source of invention—until it fell into the narrative lockstep of serial television. The inventions became devices, and then self-clichés, and I stopped watching.
>I stopped watching.
He hasn't seen all of season 2 so his opinion is completely worthless.
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>>83101469
jewish Armond White
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I'm waiting for Armond White Power's take on the new twin peaks, thank you very much.
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>>83101421
>attentively watched the Coen brothers’ “Fargo” (1996)
Name one Fargo-esque thing about season 3.
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>>83101469
https://www.youtube.com/user/zionget
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>>83101540
you can't, cause the Fargo-esque thing is a twin peaks-esque thing. This guy just compared Twin Peaks to something that was sometimes compared to Twin Peaks.
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>>83101421
>has praised the Star Wars prequels
>compares seasons 3 of Twin Peaks to Fargo even though Twin Peaks predates Fargo
>admits he never finished watching season 2 of Twin Peaks
Give me one good reason why I should care about this pretentious hack.
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>>83101477
he said that he stopped watching the show during its runtime because of the drop in quality, not that he NEVER watched season 2
this is supoported by the fact that later on in his article(>http://www.newyorker.com/culture/richard-brody/twin-peaks-the-return-and-the-search-for-david-lynch) he claims that FWWM is the best thing about twin peaks memery:
>The best part of “Twin Peaks” is the movie with which Lynch followed it, “Twin Peaks: Fire Walk with Me.” There, he excavates a pure, tragic power from the series’ grandiose fantasies and intricate elaborations, and brings it to life in Sheryl Lee’s fierce, ravaged performance. But even there he can’t restrain himself from the already-clichés of the series, and vitiates the mighty and terrifying vision of sexual violence, moral horror, and emotional dislocation with grandstanding ornamental fancies. That film suggests both the deep and dreadful experience at the core of Lynch’s vision, the vast personal source of the mighty mythology of the series—and the artistic cost of its realization.
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>>83101540
he just said it to try to appeal to mediocre film nerds who recognize a film like fargo
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