I feel like it’s worth pointing out two things up front: I am not a huge anime fan, and I am fully up to date with the still-running manga this show is adapting. The medium is one that has given me a few shows I really love, but I am often put off by certain attributes that come up time and time again. The manga, which has left plenty of material for the show to bring to the small screen by this point, has left me in the position where I know pretty much exactly what is going to happen each episode. Continue reading →
Each week I will be doing a recap of the new season of Twin Peaks over at Audiences Everywhere. I’ll break down the key events of the episode, analyse what it means to me, and collect clues along the way.
This week the first episode was released (technically Part 1 & 2), and so I put up a pretty long exploration into what was going on. The short answer is that I liked it and want to see more. But no, I’m not going to find a ripped link to see the 3rd and 4th episodes that were put up for Showtime viewers (but not Sky viewers in the UK).
I’ll update this post as each entry is released:
Music is a big part of David Lynch’s work, from the eerie soundscapes of his early films to his own studio releases. As his career continued and full length feature films became a rarer sight, he began to make his own music—and now has five albums and a record label to his name. Twin Peaks‘ season 3 revival looks to include more music than ever, with appearances by Trent Reznor, Sky Ferreira, Eddie Vedder, Sharon Van Etten as well as Lynch alumni Rebekah Del Rio and Julee Cruise. Continue reading →
Finding out that Twin Peaks was returning was like having the most beautiful dream and the most terrible nightmare all at once. When David Lynch and Mark Frost’s endlessly strange, hugely influential TV show was cancelled in 1991, it left a lot of questions unanswered.
Today, fans everywhere are still wondering which loose ends will be tied up when season three gets underway on 22 May. The secrecy surrounding the project makes it extremely difficult to decode, so to help separate the facts from idle speculation, here’s a rundown of everything we know so far…
The original cast is back (well, mostly)
When the full cast list for season three was released in April 2016, there were plenty of familiar names on the docket: Special Agent Dale Cooper, Shelly, Norma, Bobby, James, Ed, Nadine, Andy, Hawk, Lucy, Sarah Palmer, Ben and Jerry Horne, as well as everyone’s favourite, Gordon Cole. Even David Duchovny is back as DEA agent Denise Bryson.
There are some notable omissions though: Piper Laurie won’t be returning as Catherine Martell, and neither will Lara Flynn Boyle as Donna Hayward (the same goes for Moira Kelly, who played her in Fire Walk with Me), Catherine E Coulson as the Log Lady, and, of course, David Bowie as Philip Jeffries.
There’s been a lot of talk over the last several years of television being in a golden age. As with most artistic periods, there isn’t a clear consensus on where it began nor what kicked it all off. While The Sopranos gave us long-form storytelling that managed to be episodic while gradually deepening our understanding of its characters and what they tell us about ourselves and the world we live in, it’s hard to say that all television was purely escapist beforehand when The Twilight Zone was taking audiences to strange new places in 1959 and Star Trek looked forward to a progressive future in ‘66. But one thing that has by its very essence remains consistent and unaltered by an increasingly self-reflexive medium is the sitcom. That brings us to Bojack Horseman, which is itself part of a new surge of adult-orientated animation in the U.S and Netflix-exclusive content.
The following is an article I wrote about Bojack Horseman last summer after season 2 was released. It was meant to be published somewhere but that kind of fell through, and ended up sitting in my Articles folder for a year. I thought I’d post it here, as with the release of the third season it’s not as pertinent to be hosted anywhere else. I will likely be writing another article on the show in the next few weeks.
Bojack Horseman returned for its second season this year on Netflix, and came back in a big way. The first season was fairly hit-and-miss, only really coming into its own when it engaged with the sad reality of Bojack’s life. The combination of tragedy and comedy, depression and animal puns, was never truly reconciled – until now. Season two does a lot of things right: the treatment of its female characters, its satire of Hollywood, its excellent depiction of bipolar disorder – but what elevates it on a moment-to-moment level is how it handles the tension between its dramatic and comic elements. Too many shows, adult-targeted cartoons especially, tend to land twenty minutes of comedy before one character sums up what they’ve learnt from the events. There are some exceptions – Community follows this structure before deconstructing and poking fun at the trope, while It’s Always Sunny In Philadelphia often uses this climactic moment to show that the lesson learned is pointless, or avoided entirely. Emotional stakes tend to reach their peak by the episode’s end here too, but Bojack isn’t scared of injecting pathos into the otherwise ridiculous, or ending a devastating scene with irreverent humour.
I was a guest on Sean Fallon‘s podcast From First To Last, where he talks to people about the first and last episodes of their favourite shows. I chose Twin Peaks (obviously), and while we mainly talk about the pilot and the series finale ‘Beyond Life and Death’, we also talk about the show in general and David Lynch’s filmography.