Twin Peaks: The Return (Episode 8) with Connor Ratliff

[00:00:01] Blank Check is Blank Check

[00:00:30] This is the pod, and this is the cast. Listen full and descend.

[00:00:38] You wanna go even lower? Lower in the pitch? Yeah, you know.

[00:00:45] The horse, the podcast is the white of the, the pod is the white of the cast.

[00:00:50] I gotta find my Jackson mane. I gotta do my Jackson mane.

[00:00:53] I just wanna get another look at the pod. That gene sock sucks.

[00:01:01] Why are you singing about genes? When you should be singing about swimming pools, shallowness,

[00:01:08] sixth area. Friend-o, friend-o. Is it more Anton Chigurh? Friend-o, friend-o.

[00:01:13] Does he have a deep, I guess he has a deep voice. He has such a quiet voice, right, Chigurh,

[00:01:18] where it's like you're leaning in.

[00:01:19] The best you've ever lost in a Quintus, Randall.

[00:01:21] I'm sorry, Kelly MacDonald. You have to die now.

[00:01:25] We love-

[00:01:26] Probably.

[00:01:27] The Coen brothers.

[00:01:27] It's ambiguous.

[00:01:28] The one sort of impediment to the idea of us ever doing it is that it's a long series, right?

[00:01:33] A long series, um, and you know, a lot of well-discussed films that we basically like.

[00:01:41] But movies, yeah, I was gonna say, movies we, we overall basically love. Can you imagine

[00:01:46] how much fun we'd have doing fucking Anton Chigurh bits?

[00:01:49] I think we'd have a lot of fun doing Tommy Lee Jones as well.

[00:01:52] God the bits!

[00:01:53] You know, like, No Country would be, yeah, a heavy, heavy bit.

[00:01:57] It's not like that's the only one.

[00:01:58] No, I think most of them have that kind of thing.

[00:02:02] But, Jesus, the, the amount of runway we'd get off of just Anton Chigurh having other

[00:02:06] types of conversations.

[00:02:08] I mean, the Coens are like Lynch, not-

[00:02:10] I want, I want a Baconator Junior.

[00:02:12] Yeah.

[00:02:13] I got a, I got a Bacon King over here.

[00:02:16] No, I want the Junior, the Junior King.

[00:02:20] Can't finish it. It's too big.

[00:02:22] It's too big.

[00:02:24] You're not going to finish.

[00:02:25] Oh, yeah.

[00:02:26] David's not doing a bit.

[00:02:26] David does, in fact, have a Bacon King here.

[00:02:29] It's fucking huge.

[00:02:30] Sounds like you're more of a Bacon Prince.

[00:02:32] Oh, yeah, jeez.

[00:02:33] You got a little too big for your britches.

[00:02:34] I didn't mean to.

[00:02:35] Hey, by the way, this is an episode about one of the most revered works of art we've

[00:02:39] probably ever covered in the history of the show, right?

[00:02:41] At least of recent times, right?

[00:02:45] Like a sort of totemic moment in recent American art.

[00:02:50] And certainly like an absolutely unique one of one object.

[00:02:54] I think so.

[00:02:55] Yeah.

[00:02:55] Much like your unfinished Bacon King.

[00:02:59] Maybe I'll finish it.

[00:03:00] This is, these are huge stakes to set up for this episode.

[00:03:04] We'll see.

[00:03:05] Come on.

[00:03:06] We'll see what I do.

[00:03:07] This is Blank Check with Griffin and David.

[00:03:08] I'm Griffin.

[00:03:09] I'm David.

[00:03:10] It's a podcast about filmographies, ostensibly.

[00:03:13] Sure.

[00:03:13] Directors who experience, God, I'm somehow now forgetting.

[00:03:17] Massive success early on.

[00:03:18] Massive success early on the careers.

[00:03:19] Thank you.

[00:03:19] Jeez.

[00:03:20] You okay?

[00:03:21] Great day.

[00:03:21] I don't know what's going on.

[00:03:22] I was like, what is the word I used to describe the success?

[00:03:25] Massive.

[00:03:26] Massive success early on in the careers.

[00:03:27] Don't worry, I've only been doing this for 10 years.

[00:03:30] Given a series of blank checks to make whatever crazy passion projects they want.

[00:03:33] And sometimes those checks clear and sometimes they bounce.

[00:03:36] Baby.

[00:03:37] Sometimes those checks continue on to television.

[00:03:41] And then this is like a blank check within a blank check.

[00:03:44] Is that a fair categorization?

[00:03:46] 100%.

[00:03:47] 100%.

[00:03:47] Yep.

[00:03:48] Yep.

[00:03:48] This is a somewhat a standalone blank check within a large blank check project.

[00:03:52] Which is like, yes, there's like seven inception layers to how you get to this existing.

[00:03:57] Yeah.

[00:03:57] Two or three, but yeah, sure.

[00:03:59] I'm going to say seven.

[00:04:00] I'm going to say seven.

[00:04:01] Um, we are here today.

[00:04:03] We are in the middle of discussing, uh, Twin Peaks The Return.

[00:04:06] David Lynch, Twin Pods Firecast with me has been our series.

[00:04:11] We have now gotten to his most recent work to date, Twin Peaks The Return.

[00:04:17] Season three of Twin Peaks.

[00:04:18] Which we have split into four episodes and at David's insistence, episode two is only about one episode in our podcast.

[00:04:26] Yes.

[00:04:27] Part eight, also known as Godalite, uh, the iconic eighth episode of Twin Peaks The Return.

[00:04:34] We're here to discuss it today.

[00:04:35] And that's, that's what we're doing.

[00:04:36] Now, can I say our guest is being too respectful?

[00:04:39] Way too.

[00:04:39] Well, he might be also be, I don't know, doing his taxes on his phone.

[00:04:42] Is he queuing something up or is he doing the taxes?

[00:04:44] I'm doing a little research, but I'm also very much being respectful.

[00:04:47] Yeah.

[00:04:47] But you know what?

[00:04:49] Loosen that tie.

[00:04:51] Get messy.

[00:04:52] Stop showing us so much respect.

[00:04:54] Brendel.

[00:04:55] It's a, it's a totemic work that we're about to discuss.

[00:04:59] Here's the rare thing that we don't do often.

[00:05:01] A kind of in series double dip.

[00:05:04] Yeah.

[00:05:05] I don't know.

[00:05:05] We just wanted to.

[00:05:06] We wanted to.

[00:05:07] We had, we had a guest, uh, for this episode possibly.

[00:05:11] And then life circumstances came up and it was suddenly like a, we, we need to get this done.

[00:05:15] And it was just like, who's the right person to tackle something this big, but also is perhaps around.

[00:05:23] Yeah.

[00:05:24] Yeah.

[00:05:24] And who we just had a lovely time talking Twin Peaks with.

[00:05:27] This was the thing.

[00:05:27] And it was like, you know what would be nice to do even more of that.

[00:05:30] Yeah.

[00:05:30] And it's also as, as people who have been behind the paywall, people who have ventured into the Patreon to experience the Twin Peaks season two episode.

[00:05:42] Uh, they've already heard me talk Twin Peaks, but what they will also know from that episode is that when you, when this, when David Lynch won, you came to me and said, Connor, what do you want to take your pick?

[00:05:53] Anything.

[00:05:54] Anything.

[00:05:54] I give you first round draft pick of the entire career.

[00:05:57] I say Twin Peaks season two, without hesitation, you say, well, that's actually going to be off the main feed.

[00:06:02] I said, I don't care.

[00:06:03] I don't care.

[00:06:03] I did have a twinge of regret thinking that, because this was my second.

[00:06:07] This was your second.

[00:06:08] This was the other one.

[00:06:08] Oh, that's good to know then.

[00:06:10] Well, look at that.

[00:06:10] This was the, this was the one where I almost like, if I had bailed on that idea, wanting to get into the main feed, it would be to talk about this.

[00:06:17] Because when I think of season two, the main thing I think of is how the season two finale remains probably the weirdest thing to ever air for any reason in prime time.

[00:06:30] And the weirdest scripted thing to intentionally air on network television.

[00:06:34] I had been primed and hyped to understand that was the case before watching it last night.

[00:06:41] You know, there's been a lot of buildup for me.

[00:06:43] I mean, I'm talking about the season two finale.

[00:06:45] Oh, that was the most, the weirdest thing ever on network.

[00:06:48] Up until that point.

[00:06:50] Up until that.

[00:06:50] Yes.

[00:06:51] And still probably for network TV.

[00:06:52] I don't know that there's that much competition for Monday night on ABC for something with where it's almost all in the Black Lodge.

[00:07:01] Weird strobe lights, et cetera.

[00:07:02] Uh, the episode of two and a half men where Charlie Sheen dies is up there.

[00:07:06] Very.

[00:07:07] There are things like that that are odd because of the, of what's happening outside of the episode.

[00:07:12] Yeah.

[00:07:13] Yes.

[00:07:13] Yeah.

[00:07:14] And episode eight of the return.

[00:07:16] He got exploded by a train?

[00:07:17] Yes.

[00:07:17] And at some point Kathy Bates plays his ghost.

[00:07:20] I can't remember if it's in that episode or a different episode, but that reaches sort of like Black Lodge levels of like.

[00:07:27] Yes.

[00:07:27] Yeah.

[00:07:28] But episode eight of the return is sort of David Lynch then going like, well, I did one.

[00:07:36] I already like, I already have this one sort of unprecedented thing.

[00:07:40] It's kind of almost never been topped.

[00:07:42] Right.

[00:07:43] What is the premium cable equivalent of that?

[00:07:46] But I'd argued the first seven episodes feel like, holy shit, he's going weirder than he's gone before.

[00:07:52] Right.

[00:07:52] What's going on here?

[00:07:53] And then he's like, no, I need to make the thing that is weird in relation to the template of weirdness I have already set.

[00:07:58] Much like the season two finale you're saying.

[00:08:01] And I'll tell you something that this is what I was looking to try to get information on within the archives of my social media.

[00:08:09] I believe that in June, June ish of 2017.

[00:08:18] That was when this aired right 2017.

[00:08:19] Uh, this episode aired on exactly June 25th, 2017.

[00:08:24] I think like, uh, at some point and I can't find the date.

[00:08:29] Dana Ashbrook did monologues at UCB.

[00:08:32] Oh, cool.

[00:08:33] My favorite.

[00:08:34] While, while, um, this was airing, but before episode eight.

[00:08:38] Yeah.

[00:08:39] Had aired.

[00:08:40] And I brought in one of my Twin Peaks trading cards, my Bobby Briggs to get it signed.

[00:08:45] Was it a rookie card?

[00:08:47] It's a Bobby Briggs rookie card.

[00:08:48] Yeah.

[00:08:49] Um, and, uh, this is after Bobby killed a guy, but before he became a cop.

[00:08:54] And, uh, the, and I remember him in like one of the little, like the, the beer storage room that was off of the, you know, and where people like kept their coats and bags and stuff.

[00:09:06] I remember him signing this and saying, I was like, man, it's really, it's great.

[00:09:10] I'm loving watching this.

[00:09:11] And he's like, yeah, yeah.

[00:09:13] I hear the eighth episode is pretty crazy.

[00:09:15] So he hadn't even seen it.

[00:09:17] He had, but he was at least vaguely aware.

[00:09:19] Like maybe they've been informed like that's the doozy or that.

[00:09:22] And he's obviously not in it.

[00:09:24] Yeah.

[00:09:24] No.

[00:09:25] But I remember thinking, what a strange thing to say.

[00:09:28] How could the eighth episode, like, I remember thinking like, what is he talking about?

[00:09:34] Well, I'm like, yes.

[00:09:35] Cause I couldn't, at that point I was like, I think I know by this point where however many episodes in, I think I'd know what Twin Peaks the return is.

[00:09:42] He's not doing the obvious third season.

[00:09:44] He's breaking his own templates.

[00:09:45] What could weird me out at this point?

[00:09:48] So I was like, what, what's going to happen?

[00:09:51] That's so weird.

[00:09:53] And, and then episode eight, I believe aired over the weekend of the Del Close marathon.

[00:09:59] Oh, wild.

[00:10:01] Okay.

[00:10:01] Uh, so you were probably also sleep deprived.

[00:10:03] Yeah.

[00:10:04] Which is like this three day marathon of, uh, not like where I probably did like more than 20 shows in three days.

[00:10:12] We should say our guest says Connor Rattler.

[00:10:13] Yeah.

[00:10:13] Sorry.

[00:10:14] Yeah.

[00:10:14] Of course.

[00:10:15] I'm glad you apologized, David.

[00:10:16] It was really rude what you were doing.

[00:10:18] It's so rude of me to not introduce our guests.

[00:10:20] Yeah.

[00:10:21] Um, here I am.

[00:10:22] But for those who don't know, the Del Close marathon was a thing that UCB used to do.

[00:10:25] That was like 72 straight hours of shows basically happening all day, all night, all morning, all sorts of venues all over the city across several venues.

[00:10:34] Right.

[00:10:35] Mostly around Chelsea, but especially at the, the old UCB theater, uh, not the original, but the, the, the Chelsea one, you would have these shows that happen at like five 30 in the morning that were 15 minutes long.

[00:10:49] There were chaos.

[00:10:49] And someone like you is, I have often maintained perhaps the greatest improviser in the world.

[00:10:54] I certainly think at that point you were sort of the greatest improviser in New York city at the very least.

[00:10:59] You're getting asked to jump in on most of these things.

[00:11:02] But then twin peaks is like this seismic important thing for you.

[00:11:06] You probably could not wait to watch the episode.

[00:11:08] You weren't going to be like, let me get a good night's sleep before I try episode eight.

[00:11:12] No, I, I, and also I, because I'd learned from previous years that one of my indulgences is that I would get a hotel room in Manhattan sort of near the venues so that I would sort of have a place to go crash at weird times.

[00:11:28] They'd not have to take a train all the way back to Queens.

[00:11:30] Sure. If I know anything about you as well, there's nothing in the world you hate more than any form of commute.

[00:11:36] I would say that's your kryptonite.

[00:11:38] Yeah. And yet you live in Queens.

[00:11:40] You should live at like whatever.

[00:11:42] Yeah. Like 34th and Madison or so you should just be like, I'm right dead center, baby.

[00:11:46] Yeah. I need to do substantially better.

[00:11:48] I know. I know it's not like you can't just like pick a place around there. I don't know. Just you should just make that your entire priority.

[00:11:54] But I also think it is part of your core essence that if we, if you somehow were able to book a show two blocks from where you live, let's even say one block away from your apartment.

[00:12:04] Yeah. Your response would be, but that's the worst block. You don't know how tough it is to walk that block.

[00:12:09] What subway are you on?

[00:12:11] Not to reveal your location.

[00:12:12] I don't want to dox myself.

[00:12:13] Okay. All right. All right.

[00:12:14] That's smart.

[00:12:15] Do you have more than one subway to you? I guess is my question.

[00:12:17] Oh, I'm, I'm near a hub.

[00:12:19] Okay. Okay.

[00:12:19] You'll never guess where I am.

[00:12:20] David's like waking up at this line of questioning.

[00:12:22] I love to.

[00:12:23] It's the influx of energy of David suddenly being able to talk train lines.

[00:12:26] People are always like, you know, looking for places in New York City, right? I have, you know, there's always someone who's looking.

[00:12:32] This is true. I say this. People are always looking for places in New York City.

[00:12:35] And I'm always like, oh, let me help. Let me help. And I do like looking at like real estate listings. But what I really like doing is thinking about, right, the web of transit you will access from wherever you're looking.

[00:12:46] Can I ask for some key bleeps on what I'm about to say?

[00:12:49] Oh, of course.

[00:12:50] Amazing.

[00:12:50] Okay. All right.

[00:12:51] And then we'll talk about Twin Peaks episode eight, which is, of course, the academic work of our work.

[00:12:54] We're gonna talk about it.

[00:12:55] I live in Queens.

[00:12:56] Yes. Great.

[00:12:57] It's right near the Long Island Railroad.

[00:12:58] Uh-huh.

[00:12:59] So that's a hack. I might as well live in Manhattan if I'm dealing with the long, I'm-

[00:13:02] No, you're near the LIRR stop.

[00:13:04] That's right.

[00:13:04] So not a ton of trains, but enough.

[00:13:07] Enough trains.

[00:13:07] Yeah. Yeah. Okay.

[00:13:08] A lot of trains going in every hour.

[00:13:10] Yeah.

[00:13:10] And, uh, and it's less intense. Like when, when, uh, ASCAP was at UCB Chelsea, I could leave my apartment at 645 and be in the green room at 7.01.

[00:13:20] I mean, that is impressive.

[00:13:22] I mean, but it's, you gotta, do you, do you just kind of sneak on like, or-

[00:13:25] Well, that's the other thing. You buy a bleep this.

[00:13:28] You buy a-

[00:13:28] Double bleep.

[00:13:29] You buy a-

[00:13:30] This is illegal. You're admitting to crimes.

[00:13:32] You buy a-

[00:13:33] Punch card ticket.

[00:13:34] Uh-huh.

[00:13:35] And then maybe they don't punch it.

[00:13:36] Cause it's barely enough time.

[00:13:38] You almost always get caught unless it's super crowded going from Penn Station.

[00:13:42] They almost always catch you then, but it's worth it.

[00:13:44] You know, it's, it's a cheap taxi ride.

[00:13:46] Do you know what I mean?

[00:13:47] Like you would never get a taxi ride to get you from there to there in 10 minutes.

[00:13:50] This is fascinating because I've never heard you talk with such joy about any commute.

[00:13:55] Well, because this is a good, this is a good part of the other thing is-

[00:13:58] You had it right one time.

[00:14:00] Um, Penn Station, the staff on the train, the conductors, they are having to play a heavy duty, high intensity game of concentration.

[00:14:09] Going up and down the train, trying to figure out who-

[00:14:12] Who's new.

[00:14:13] Who's new.

[00:14:14] Yeah.

[00:14:14] And they don't always get me.

[00:14:15] You put your, also you put your, uh, earbuds in.

[00:14:18] Yeah.

[00:14:18] Like you're asleep.

[00:14:19] Is it worth their while?

[00:14:20] Is it worth their while?

[00:14:21] So you're not-

[00:14:23] No, sir, David, go on.

[00:14:23] But you're not probably that far from the, and we can believe this-

[00:14:28] Not too far.

[00:14:29] Right.

[00:14:29] A lot of options.

[00:14:30] But I'll say this, getting to the Blank Check Studio is hell.

[00:14:34] Yeah.

[00:14:35] Yeah.

[00:14:35] We are not best students to you.

[00:14:37] Comedian studios.

[00:14:37] I apologize.

[00:14:38] No, but that's how much I want to be here to talk episode eight.

[00:14:41] Which we're going to talk about.

[00:14:41] So you watch it.

[00:14:43] Do you watch it in this hotel room you've booked?

[00:14:45] I watch, I remember watching it in the hotel room.

[00:14:47] Now can you name the hotel?

[00:14:49] Uh, yeah.

[00:14:49] It was the, um, uh, Four Points Chelsea.

[00:14:53] Mm-hmm.

[00:14:53] Okay.

[00:14:54] And so it's one of those hotels that they've crammed a lot of little rooms in.

[00:14:58] It's not huge, but the bed's a nice size.

[00:15:01] And I watched it late at night.

[00:15:03] On a laptop, I'm guessing?

[00:15:05] A Showtime Anytime kind of a subscription?

[00:15:07] I think I probably watched it on an iPad mini.

[00:15:10] Wow.

[00:15:11] Um.

[00:15:11] Okay, but on the app, we're saying you were not watching this.

[00:15:13] Yeah.

[00:15:14] This is also wired headphones.

[00:15:15] This is the day where you could plug your headphones right into the iPad.

[00:15:18] Okay.

[00:15:19] I'm glad we're setting the scene.

[00:15:20] So this is, you're watching it the night of, but you're not watching it live.

[00:15:23] Not watching it live.

[00:15:24] Okay.

[00:15:24] I'm watching it in, like, probably after two in the morning.

[00:15:27] Wow.

[00:15:28] Yeah.

[00:15:28] And I'm tired.

[00:15:29] Yeah.

[00:15:30] And...

[00:15:31] And you got the Dana Ashbrook thing in the back of your head.

[00:15:34] Which I was skeptical about.

[00:15:35] You know, when he said it to me, I'm like, this actor doesn't...

[00:15:38] We just...

[00:15:38] Oh, episode eight's gonna be weird.

[00:15:40] I almost thought it was like a non sequitur.

[00:15:42] Like, oh yeah, there's gonna be a real weird episode of Twin Peaks coming up.

[00:15:46] Oh, yeah, they're all weird.

[00:15:47] You know?

[00:15:48] I really thought he was sort of joking.

[00:15:50] Until the episode hit.

[00:15:54] And there was...

[00:15:57] Like, let's say the...

[00:15:58] Here's the other thing, which I don't...

[00:16:01] I guess I'll say this before the setup of what happens in the episode.

[00:16:07] I...

[00:16:07] This is all true.

[00:16:09] And I wish that I had documented it more specifically when it happened.

[00:16:13] Because it's gonna sound like the type of thing that someone could easily just make up.

[00:16:19] To say that, oh, this is what happened.

[00:16:22] I had a dream.

[00:16:24] Months before the return began.

[00:16:27] Because...

[00:16:28] And the dream was fixated on the fact that...

[00:16:31] How are they gonna have Bob in the new Twin Peaks when Frank Silvis...

[00:16:37] Sure, the actors died.

[00:16:37] Long dead.

[00:16:39] In my dream, I was watching the new Twin Peaks.

[00:16:42] So I was sort of inside the new Twin Peaks watching it.

[00:16:46] And what I saw in my dream was a dark room where I could barely see.

[00:16:50] And there are a bunch of doctors who are surrounding Agent Cooper's body on an operating table.

[00:16:57] And they're opening up his stomach.

[00:16:59] And out of his stomach fly these orbs that have Frank Silva's head.

[00:17:06] They're like these comets that fly out into space.

[00:17:09] You had a dream that basically predicted...

[00:17:12] Right.

[00:17:12] Now, Lynch has used sort of orby imagery before.

[00:17:16] I could see where maybe you could be drawing from this, maybe.

[00:17:18] Right?

[00:17:19] Sure, there's like a racer head space, things like that.

[00:17:21] Yeah, yeah, yeah.

[00:17:21] But in the world of Twin Peaks, the idea of an animated sort of bob head on an orb flying around in space.

[00:17:32] And when the old man, when the woodsman ghosts come up out of the earth and start digging around in Mr. C's stomach, and they pull out an orb that you...

[00:17:47] It's kind of hard to see what it is.

[00:17:49] Yes.

[00:17:50] That it's Bob's face on the thing.

[00:17:51] Imagine watching that in the middle of the night when you're like sleep deprived, and the music itself is this kind of...

[00:17:59] And you kind of...

[00:18:00] It's hard.

[00:18:01] I've watched on lots of different screens with lots of different resolution.

[00:18:05] It's always a little bit of a struggle to make out exactly what's going on in that sequence.

[00:18:12] It kind of makes you feel like you're watching it with your glasses off or something.

[00:18:16] There's a very distorted, dreamlike feeling to it.

[00:18:21] Do you folks ever have the experience of watching something late at night, perhaps when you were intentionally trying to fall asleep, putting something on to put yourself to sleep, right?

[00:18:31] And you start passing out, and then you kind of snap back for a moment.

[00:18:35] You're like, oh, the last scene was something I dreamed.

[00:18:38] I was watching something.

[00:18:40] Yeah, I know what you're talking about.

[00:18:41] I slowly faded.

[00:18:42] You fall asleep, and then you kind of have a dream about the thing you're...

[00:18:45] Like with the dialogue maybe that you're hearing is in your dream.

[00:18:48] Even if it's branching, and you're sort of like, I'm now starting to like...

[00:18:51] And then you're like, okay, time to turn this off.

[00:18:54] You know, go to sleep, right?

[00:18:55] This is the only thing I've ever watched that feels like this when you're awake.

[00:19:00] Where you're like, this is my brain riffing on the thing I was watching right before I fell asleep.

[00:19:05] So the fact that you had a dream about it...

[00:19:09] Yeah.

[00:19:09] Yeah, trying to like solve a story problem basically in your mind.

[00:19:14] A thing that knowing how you think, being your friend for a while now, that you spend a lot of time internalizing these sorts of things.

[00:19:22] It makes sense that you would dream about it in anticipation.

[00:19:25] I just couldn't believe what I was seeing.

[00:19:29] Because like when the...

[00:19:30] It was very...

[00:19:31] It was exciting and it also made it scarier to me.

[00:19:34] Yeah, it's awesome.

[00:19:34] Because it felt like he's pulling this from my subconscious.

[00:19:39] Or maybe your subconsciouses are just linked in some mystical way through the art he's created over the years.

[00:19:45] It's...

[00:19:45] And that's sort of a lovely thing to think about.

[00:19:47] It's really...

[00:19:48] Well, because also, there's...

[00:19:50] If it was anything else...

[00:19:51] Mm-hmm.

[00:19:51] Like, if I went and saw Red One and then realized...

[00:19:56] I mean, you're a lucky man.

[00:19:57] If I went and saw Red One and then...

[00:19:59] I'm just pushing Red One on me so hard.

[00:20:02] If I went and saw...

[00:20:03] If I went and saw Red One...

[00:20:05] I'm sorry, are you implying that you're not gonna go see it?

[00:20:08] Can we move through this sentence, please?

[00:20:10] Okay.

[00:20:10] He's about to say for the fourth time.

[00:20:12] And then I'm gonna circle back.

[00:20:13] If I went and saw Red One and then there was something in it that I'm like, oh, I think I had a dream about that.

[00:20:18] Right.

[00:20:18] I might have pulled it from the trailer.

[00:20:20] Yeah, yeah.

[00:20:21] Whereas...

[00:20:21] I mean, it's ubiquitous.

[00:20:22] This was so locked down that there was really nothing...

[00:20:26] Nothing that I dreamed could have been like, oh, well, you heard that it was gonna be like this.

[00:20:30] It was just...

[00:20:32] It was just based on my thought of how are they gonna do this.

[00:20:35] The whole show was a mystery box.

[00:20:36] But that's my experience watching episode eight, which I did not watch late at night at the Four Points, Chelsea.

[00:20:41] But I did watch with no preparation except that I thought I knew what Twin Peaks The Return was at this point.

[00:20:49] And I was like, look, I could not have predicted it would be about, you know, Kyle McLaughlin is this kind of dual personality, neither totally Mr. Cooper.

[00:20:59] But like, wow, I love that he's doing this.

[00:21:01] I'm into it.

[00:21:03] And then I start this episode and it starts with, you know, Mr. C driving the other guy.

[00:21:07] What's the other guy's name?

[00:21:08] You know, the other guy, the heavy.

[00:21:10] Ray Monroe.

[00:21:11] You know, and you're like, yeah, okay, here we go.

[00:21:13] We're continuing the story of Twin Peaks The Return, right?

[00:21:16] Like it doesn't start black and white, atomic bomb.

[00:21:20] Like it doesn't immediately start with that.

[00:21:22] Yes.

[00:21:23] It starts like a normal episode of Twin Peaks The Return.

[00:21:26] Quote unquote normal episode.

[00:21:27] Perfectly normal.

[00:21:27] But still, you're like, we're in this continuing story he's telling.

[00:21:32] He's got trackers on the car, pull up close to another car, you press buttons on that thing, it removes the trackers, you throw the device out the window.

[00:21:40] This is how technology works.

[00:21:42] And I think.

[00:21:42] But it's the equivalent of.

[00:21:44] I love that.

[00:21:44] Normal quote unquote plotty scenes for Twin Peaks The Return.

[00:21:48] We're in this story, which I think is so crucial to this episode because then when it starts to get weird, again, quote unquote weird, you have the thought of like, okay, well, this is going to be five minutes.

[00:21:59] We've had surreal imagery in the show so far.

[00:22:02] We've gone to the sort of purple sea and we've seen the fireman and these contraptions, you know, like, all right, it's a bit of that.

[00:22:09] And then after a few minutes, you're like, are we not exiting this?

[00:22:12] And then after a few minutes, you're like, we're not exiting this.

[00:22:14] And I need to be like dipping my whole body into this.

[00:22:19] Right.

[00:22:19] Like, this is like, this is important.

[00:22:22] Like, this isn't just fun Twin Peaks dream imagery that I can pour over like, like, no, no, no.

[00:22:28] This is this is a mantra for the show or whatever.

[00:22:31] Do you remember if you watch this on broadcast or through like the app on streaming?

[00:22:37] I watched it on my TV.

[00:22:39] I think I still I still had cable.

[00:22:42] I had I think I had like a DVR.

[00:22:46] I mean, not to brag, but this is 2017.

[00:22:50] I think I had like a true like DVR box and I had like recorded Twin Peaks The Return that way.

[00:22:57] Right. You know what I mean?

[00:22:58] Like, and so I was watching it like I remember in my living room.

[00:23:02] You the living room.

[00:23:04] You two spent a fair amount of time in.

[00:23:05] We used to call it big nice watching commentaries with me and so on and so forth.

[00:23:09] Back. And I was alone.

[00:23:11] But it could have even been the daytime.

[00:23:13] Yeah.

[00:23:15] And like, it was just I was like, okay, because my Forky didn't watch Twin Peaks The Return.

[00:23:20] Like that it meant nothing.

[00:23:21] You were living together at that.

[00:23:23] Yes, absolutely.

[00:23:23] Yeah. Yeah.

[00:23:25] Yeah.

[00:23:25] It's hard for me to like, I'm sure I've watched this in the daytime at some point over the past however many years, because I've this is the episode I've gone back to the most.

[00:23:35] But watching it in the deep, deep dark of night feels like it almost feels like the type of.

[00:23:42] Remember when there was going to be that Spielberg show on Quibi that you could only watch in the dark at night?

[00:23:47] That was the idea.

[00:23:48] Yeah.

[00:23:48] Yeah.

[00:23:49] It almost feels like if any episode could only be accessed after the sun goes down, it would be this episode.

[00:23:55] Do you remember this, David, when you were in charge of Quibi, the deal you made with Steven Spielberg?

[00:23:59] Do you remember this announcement?

[00:24:01] Vaguely.

[00:24:01] Yes, I do vaguely remember that Spielberg was like, K-Fabe aside, my old buddy Jeffrey Katzenberg asked me to do something for Quibi.

[00:24:08] And I got intrigued by the opportunity of the technology. Right. And Katzenberg is basically like, turnstile mode. Look, it's like this.

[00:24:16] Spielberg was like, I don't give a shit. Could you do a thing where you could post something on the app that could only be watched at certain hours?

[00:24:23] Right. Kind of like how you would play Pokemon.

[00:24:25] Yes.

[00:24:26] And you'd have a clock on it. It's like, yeah, you can only catch the owl Pokemon at night.

[00:24:30] And Katzenberg was like, I don't see why not. And he was like, I think it'd be fun to do a scary thing that you could only watch when you when the sun has

[00:24:38] gone down in whatever time zone you are in, which is kind of a cool idea.

[00:24:43] It's so cool. And then they announced that. And at no point did Spielberg do any work developing what that was.

[00:24:49] It was just this constant part of like Quibi is putting a billion dollars in the content.

[00:24:53] They just kept being like, and at some point Steven Spielberg will start writing something that is spooky, which we promise you can only watch after sundown.

[00:25:02] And that will happen eventually. Someone will make a thing that you can only watch at night. Yeah.

[00:25:06] It just is a matter of time.

[00:25:08] I out of routine often watch the stuff for this podcast in the morning prerecord. Not always depends on scheduling. Right.

[00:25:16] But I'm just like, I like to be really fresh on stuff as much as I can, because my brain is a sieve and did things fall out of it immediately.

[00:25:24] I was like very tired last night and I had a busy day and a busy evening. And I was like, I know I need to watch this at night.

[00:25:31] I know if I wake up and try to watch this in the morning, it will not be correct. And I have felt that with a lot of Twin Peaks.

[00:25:39] Uh huh. Like a lot of it. I come here. I watch it on the screen we have here in the office, which is a windowless room where even if it was during the day, it can sometimes feel like night.

[00:25:49] Yeah. Turn off three lights and you got yourself at night time. I still wait for it to actually be the evening. And it feels like the right way to watch the show in this episode.

[00:25:57] Uh, certainly to your point, David, the fascinating thing about Twin Peaks, the return is very quickly.

[00:26:03] It just breaks any sense of you being able to predict what the show is, right? Like this is not going to function like old Twin Peaks. It's not going to function like David Lynch movies completely. Right.

[00:26:14] And then like, we're just going to cut out of scenes, cut to new characters. You saying like I was expecting this to be a regular episode. The notion of a regular episode at this point is know that you can't try to game out what this is going to be. Right. Like give into the chaos of people.

[00:26:30] People maybe initially were sort of trying to do that of like, right, what are the theories we can think about? And it's like, eh, it's not really going to work.

[00:26:35] I think by episode seven, people have probably settled into this is what it is.

[00:26:40] Yeah, exactly. I certainly had.

[00:26:41] Me too. I also, by episode seven, I thought I've outsmarted this. I know what this is. You can't surprise me.

[00:26:49] I remember being on Twitter, Cursed Hellsight in the year 2017 when this episode aired and seeing people just go like, holy shit, that's the greatest thing that's ever aired on television.

[00:27:00] This is seismic. And without wanting to like have it spoiled and people were posting still images.

[00:27:06] I was just sort of like, I gather he did something pretty experimental and somewhat non-narrative within the format of television.

[00:27:14] And over the years, I've heard people talk about this and show more images and whatever.

[00:27:18] But I did feel largely unspoiled in a lot of ways outside of knowing this is somehow about the atomic bomb.

[00:27:24] Like that was kind of the only thing I really knew about it, I want to say.

[00:27:28] And then I put this on last night and I had the opposite thing of what you're saying, which is I was then unnerved and thrown off by it starting with 10 plus minutes of quote unquote normal Twin Peaks The Return.

[00:27:44] I was like, isn't this supposed to be the crazy episode? When does this get crazy?

[00:27:47] What do you this is just this is Twin Peaks The Return so far.

[00:27:50] Right. I was like, I'm ready for this to be a completely standalone, like weird installation piece.

[00:27:55] That was my feeling of this was people turn on just went like, what what did they do with Twin Peaks?

[00:28:00] And so then that transition is even more bizarre.

[00:28:04] But yet coming at it from the wrong direction in the wrong order, it had the same effect on me of like it does feel like reality is like ripping apart at the seams.

[00:28:15] Yeah. Ben, when did you first see episode eight?

[00:28:18] I watched it for the show.

[00:28:20] Ben has been watching Return for the first time.

[00:28:22] So you're OK. So what what time of day were you watching when you got to eight?

[00:28:26] Did you were you prepared for eight being weird?

[00:28:29] Yes. Because of the because of how I curated these episodes.

[00:28:33] So I did watch it very late at night.

[00:28:36] I want to say it was like two in the morning because I knew this was so hyped up.

[00:28:40] Assassin's Creed hours that by the time.

[00:28:43] Yeah, for sure.

[00:28:44] That by the time it was like that it was so late at night.

[00:28:47] But I was like, I'm on eight. I got to do this.

[00:28:49] Right. I'm intrigued.

[00:28:51] I want to like it's like there's a little sliver of light from behind the door and you're like, hey, I want to open it.

[00:28:56] Just to unpack this, Connor, Ben has like within like bouts of insomnia will have like things he watches at two o'clock in the morning when it's like I've woken up and I can't fall asleep or I wasn't able to fall asleep.

[00:29:09] And it's often a rotation of he will watch the same thing 30 times for a couple months before moving on to something else.

[00:29:15] And they are usually it's just like some inexplicable.

[00:29:18] He is connected to the tone or the imagery of this.

[00:29:21] It feels perfect that you watch this for the first time in basically that time slot.

[00:29:27] You feel kind of like you're the only person who's awake at that time.

[00:29:32] You know, when you watch stuff.

[00:29:34] I like that.

[00:29:34] You know that feeling?

[00:29:35] Yeah.

[00:29:36] I'm the only little person here.

[00:29:43] Griffin.

[00:29:44] Oh, wait, no, this is me.

[00:29:45] I'm just doing a solo ad read.

[00:29:46] Listen, this time of year, people are saying ho, ho, ho.

[00:29:50] Merry Christmas or ha, ha, ha.

[00:29:54] Happy Hanukkah or happy holidays.

[00:29:55] I guess it works for both.

[00:29:56] But what I want to encourage people to say is mo, mo, mo.

[00:30:01] Merry movies.

[00:30:07] Adrigal are continuing to support the show because if you sign up for Regal Unlimited,

[00:30:14] which of course is the all you can watch movie subscription pass that pays for itself in just

[00:30:17] who visits.

[00:30:19] That's one Glickid, one no Sonic Ferratu.

[00:30:23] One double feature you paid for your visit.

[00:30:26] You see any standard 2D movie anytime with no blackout dates or restrictions.

[00:30:30] And with Regal Unlimited, you won't just save money on tickets.

[00:30:33] You'll also save on snacks, eating.

[00:30:36] So you can go, mo, mo, mo, Merry movies.

[00:30:39] You're still saying the mo, mo, mo, Merry movies thing, but you have snacks in your mouth.

[00:30:43] The point is members get 10% off of all non-alcoholic concession items.

[00:30:48] So if you're planning to see two movies this month, Regal Unlimited just makes sense.

[00:30:53] Here's what you do.

[00:30:54] You sign up now in the Regal app or at the link in the description and use code blank check.

[00:30:59] Now I know what you're saying.

[00:31:00] Oh God, I've heard a lot of Regal ads before.

[00:31:02] I get it.

[00:31:03] I know what he's offering.

[00:31:04] 10% off your three month subscription.

[00:31:06] Wrong.

[00:31:07] Holiday special.

[00:31:09] 20% off if you use code blank check.

[00:31:13] This is unprecedented.

[00:31:15] 20% off.

[00:31:17] Now I'm trying to answer your questions before you ask them.

[00:31:20] What if you already have a subscription?

[00:31:21] What if you don't live in an area with a lot of Regals?

[00:31:25] Here's the thing to think about.

[00:31:27] You got anyone in your life who loves movies?

[00:31:29] You looking for a gift?

[00:31:32] Regal Unlimited subscription.

[00:31:34] 20% off.

[00:31:37] Code blank check.

[00:31:39] And I want to say this as well.

[00:31:41] We've been doing a lot of work behind the scenes to evolve our strategy with advertising on this show

[00:31:47] to both hopefully make a more enjoyable listening experience for all of you

[00:31:53] and to keep everyone happy and paid at Blank Check Productions.

[00:31:57] And a big part of that is us being really excited about partnerships like our friends at Regal

[00:32:02] that feel very on topic of what we do on this podcast

[00:32:06] and feels like a great opportunity to encourage people to take up an offer to go see movies.

[00:32:12] A thing I imagine a lot of our listeners really want to do.

[00:32:15] So if you're looking for a way to say thanks and show support for the podcast,

[00:32:19] this would be a really helpful thing to do.

[00:32:21] Thank you very much.

[00:32:22] And one last time, Mo Mo Mo.

[00:32:25] Merry Movies.

[00:32:31] Okay, now I'm going to ask the dummy question.

[00:32:33] Okay.

[00:32:34] Can you guys explain to me what this is about?

[00:32:36] When did you watch it?

[00:32:38] Last night.

[00:32:39] I've only had like 12 hours to stew on this

[00:32:41] and I didn't want to fucking dig into like reading a bunch of fucking recaps and analysis.

[00:32:47] Well, we'll talk about what happens in the episode.

[00:32:49] First, I want to tie up two things.

[00:32:51] You want to type?

[00:32:52] Tie up two things.

[00:32:52] Oh, okay.

[00:32:53] Take out your string.

[00:32:55] One, I forgot that Charlie Harper, the character in Two and a Half Men,

[00:32:59] when he dies, that was the most watched episode of that show in history.

[00:33:02] Like 25 million people or whatever.

[00:33:04] The first Ashton Kutcher episode is basically what it was.

[00:33:06] Yeah, for comparison, this episode was watched by 250,000 people.

[00:33:10] Right.

[00:33:11] I forgot about timesing.

[00:33:14] Melanie Linsky, who is a mild friend of mine and of course is a famous person now.

[00:33:19] It's sort of crazy how Melanie Linsky,

[00:33:22] it's not crazy because she deserves all the fame.

[00:33:25] But that she was like a regular on that show for eight years.

[00:33:27] Right, that she had the years on that show and kind of just in the mix of like,

[00:33:31] yeah, Melanie Linsky from Heavenly Creatures is like on TV and in movies.

[00:33:34] I remember seeing her in the informant and being like,

[00:33:37] it's nice that finally someone's putting her to work again.

[00:33:39] And then I'm like, oh, she spent eight years on the most watched show in the world.

[00:33:43] But like, I think she was a character who would come in and out because she was his stalker.

[00:33:46] Right.

[00:33:46] You know, like that was the joke.

[00:33:47] But then they made her a regular for years.

[00:33:48] No, she was a regular.

[00:33:49] Oh, she was a regular for at least some seasons.

[00:33:52] Yeah.

[00:33:52] I'm sure that was very sistation for her.

[00:33:53] I think it was a thing where she was like a guest star that then was so popular that they kept.

[00:33:56] Right.

[00:33:57] And she's funny or whatever.

[00:33:58] I mean, I've not seen a lot of Two and a Half Men.

[00:34:01] Me neither.

[00:34:02] But that's one of the only episodes I've seen.

[00:34:04] The funeral.

[00:34:05] I just remember right that it's implied that she shoved Charlie in front of a train and he exploded like a balloon, she says.

[00:34:12] Yes.

[00:34:12] Because he had like cheated on her again or whatever.

[00:34:15] Yes.

[00:34:15] Anyway, I just forgot that Melanie Linsky killed Charlie in Two and a Half Men.

[00:34:20] It's quietly the darkest TV show of all time.

[00:34:22] Right, because Chuck Lorre had that strain to him.

[00:34:25] Yes, but it's the most extreme version of it.

[00:34:27] Also, in that episode, Dharma and Greg attend the funeral.

[00:34:30] Oh, really?

[00:34:30] Because it's sort of like the Lori verse.

[00:34:33] Right.

[00:34:33] Or maybe they come to look at the house because John Cryer is trying to sell it.

[00:34:38] I don't know.

[00:34:38] Whatever.

[00:34:39] Go on, David.

[00:34:39] I'm sorry.

[00:34:40] Keep tying things up.

[00:34:41] The other thing I wanted to just I just wanted to ask you.

[00:34:44] So today or yesterday or this week, John Krasinski was named to people's sexiest man alive.

[00:34:49] OK, if we're talking about national nightmares.

[00:34:51] Yeah.

[00:34:51] And everyone's up in arms about it because they're like, John Krasinski, like in this day and age, like he's fairly bland.

[00:34:56] Like and it's like, what guys?

[00:34:58] It means a lot of people turned it down.

[00:34:59] Like you have to remember, but it is not like this.

[00:35:02] This is a weird year to do it.

[00:35:05] Is that fair to say?

[00:35:06] It's a weird year to do it because what's he got going on?

[00:35:11] I mean, this was the year that we got our first work from the imagination of.

[00:35:16] So what's the sexiest organ?

[00:35:18] I forgot about that.

[00:35:19] What's the sexiest organ in the human body?

[00:35:22] It's the brain.

[00:35:23] What are you talking about?

[00:35:24] If his film, if.

[00:35:26] If.

[00:35:26] What if?

[00:35:27] And what's sexier than the possibility of something?

[00:35:29] If.

[00:35:29] Now, he's 45.

[00:35:31] I missed if.

[00:35:32] Yeah, that's fine.

[00:35:33] You're doing great.

[00:35:34] Yeah, watch it at two o'clock in the morning.

[00:35:35] All right.

[00:35:36] You will feel like the only person on earth.

[00:35:38] He is 45 years old.

[00:35:39] Uh-huh.

[00:35:40] Which makes him one of the older sexiest men alive.

[00:35:43] That.

[00:35:43] That's also weird.

[00:35:44] That feels.

[00:35:45] That's a little surprising, right?

[00:35:46] Right.

[00:35:46] Now, obviously, everyone knows the oldest sexiest man alive.

[00:35:49] People sexiest.

[00:35:49] Sean Connery.

[00:35:50] Sean Connery was named that at 59 when he was fully in like Untouchables, bald dude.

[00:35:55] And looked like the oldest man alive at 50.

[00:35:56] But there was an argument of like, oh, he's been around forever and whatever.

[00:36:00] But like Nolte was like 55.

[00:36:02] Nolte was 51.

[00:36:04] Yeah.

[00:36:04] The others in their 50s were Paul Rudd recently was.

[00:36:07] I was going to say.

[00:36:08] Ageless.

[00:36:09] Yes.

[00:36:09] Harrison Ford was named at around six days, seven nights time.

[00:36:13] That's about 50.

[00:36:15] And of course, quite bizarrely, Patrick Dempsey got it last year, I guess, in conjunction with

[00:36:21] Ferrari.

[00:36:21] And he was 57.

[00:36:23] Yes.

[00:36:23] And I feel like he had some other thing.

[00:36:24] I mean, this is.

[00:36:25] And I was.

[00:36:26] I remember I worked at people when he turned it down one year and they named Matthew McConghey

[00:36:31] instead.

[00:36:33] Or no, it was Damon.

[00:36:34] It was Damon that got it that year.

[00:36:35] Anyway.

[00:36:35] But to your point, there is a lot of like press maneuvering around the person to.

[00:36:40] You can't just sort of like be like, oh, they're the sexiest man alive and they don't

[00:36:43] want to talk to people magazine.

[00:36:44] People's like, well, we still think you're sexiest.

[00:36:47] So we're putting you on the cover no matter what.

[00:36:48] Like you need them to agree.

[00:36:50] Look.

[00:36:50] Right.

[00:36:50] You can't you can't do that to someone without their consent.

[00:36:53] I mean, you can, but you're not going to get much out of it.

[00:36:56] It's creepy.

[00:36:56] Yes.

[00:36:57] People magazine just bestowing it on unwilling people.

[00:37:00] Paul Rudd, an incredibly handsome man, ageless.

[00:37:03] Right.

[00:37:03] As you said, when he was dubbed people's sexiest man alive, we're like, that's a lot of people

[00:37:08] were like, that's the title we're giving him now.

[00:37:11] I mean.

[00:37:11] And then the answer was, you're like, Ghostbusters Afterlife is in theaters.

[00:37:14] Yeah, it's right.

[00:37:15] It just.

[00:37:16] Krasinski, you're like, what is this even fucking tying into?

[00:37:19] If came out six months ago.

[00:37:21] But before we talk about.

[00:37:22] Available on digital.

[00:37:23] Okay.

[00:37:23] Before we talk about.

[00:37:24] Yeah.

[00:37:24] Why are you bringing this up?

[00:37:26] A sexy steelbook coming out soon, probably.

[00:37:28] It's already out.

[00:37:29] Is it?

[00:37:30] No, a sexy steelbook.

[00:37:31] It'll be different.

[00:37:32] A second edition.

[00:37:33] The sexy edition.

[00:37:34] Who is the youngest sexiest man alive people ever mentioned?

[00:37:37] Because I sorted by age just out of interest.

[00:37:39] Do you have the step?

[00:37:39] And I was surprised by the answer.

[00:37:41] I'm going to guess.

[00:37:41] I'm going to guess Baby Herman.

[00:37:43] It's not Baby Herman.

[00:37:45] Okay.

[00:37:45] From who ran, you know, whatever.

[00:37:48] That's most sexist.

[00:37:50] Oh, most sexist man alive.

[00:37:52] Hey, he does.

[00:37:53] It's not Michael B. Jordan?

[00:37:55] It's not Michael B. Jordan.

[00:37:57] But I imagine he's on the lower end.

[00:37:58] He was 33.

[00:37:59] He's on the lower end.

[00:38:00] David, tell me the age of the youngest.

[00:38:03] 27.

[00:38:03] 27 was the youngest.

[00:38:04] You're never going to guess this.

[00:38:05] I'm never going to guess this.

[00:38:06] That's the only reason I bring it up.

[00:38:07] I'm going to give you one more guess.

[00:38:08] Mark Harmon.

[00:38:09] No, Mark Harmon was 34.

[00:38:11] Okay.

[00:38:11] I just knew he got it.

[00:38:17] He was the oldest sexiest man alive in 1990 when he was 27 years old.

[00:38:21] The only time they've named him thus.

[00:38:23] So that is like Days of Thunder?

[00:38:25] Yeah.

[00:38:25] Or, yeah, sort of far and away.

[00:38:28] Ah, you're a carcass, Shannon.

[00:38:30] I think Days of Thunder came out in 1990.

[00:38:32] So I guess that would have been the explicit tie-in.

[00:38:35] Isn't that just weird, though?

[00:38:36] That you're like, that he was the babiest, sexiest man alive in People magazine history?

[00:38:42] Can I tell you, I gain a little bit of respect.

[00:38:45] I've never really given a lot of thought to People magazine's process.

[00:38:49] But 27, that's pretty, they've given a safe, that's a safe floor age-wise.

[00:38:58] Go any lower and you're just close to boyhood.

[00:39:01] I would also bet the average is like 45.

[00:39:05] I think the average is in late 30s, early 40s.

[00:39:08] Yeah, I just feel like they usually go for real grown-up men.

[00:39:11] Right, because that's their audiences, you know, older women are reading People magazine.

[00:39:17] I wish they would emphasize more that this is people's sexiest man who agreed to be sexiest

[00:39:22] man alive.

[00:39:23] And there should be a little list, a little sidebar that's like, here's who said no.

[00:39:28] So in 2017, it was bad Coop, right?

[00:39:30] Mr. C was the sexiest man alive.

[00:39:33] Thank you for this title.

[00:39:36] He's like staring over your shoulder.

[00:39:38] I see my press people did good.

[00:39:41] I would be excited if it was Dougie.

[00:39:44] Dougie Jones?

[00:39:44] Like sexiest man alive and it's like him, you know, with like a tie on his head.

[00:39:48] Yeah.

[00:39:50] Does Dougie do it more than Mr. C in The Return?

[00:39:53] Does Dougie do it?

[00:39:54] Does Dougie do it more?

[00:39:55] Dougie does it.

[00:39:56] I mean, he has sex.

[00:39:57] Yeah.

[00:39:58] Does he do it more?

[00:39:59] Well, Dougie has sex.

[00:40:01] Does, without spoiling what's to come in the episodes I have yet to see, does Coop in

[00:40:08] Dougie's body do it?

[00:40:10] Oh, right.

[00:40:11] Because the transfer happens right after Dougie's done it.

[00:40:14] He does.

[00:40:14] Right?

[00:40:15] But I'm like, do we think that he's stopping Naomi Watts?

[00:40:19] I think he does.

[00:40:21] You think he does in the episodes we've seen?

[00:40:23] Doesn't he?

[00:40:24] He definitely has sex with her.

[00:40:26] Yes.

[00:40:26] Yes.

[00:40:26] I just can't remember when it is.

[00:40:28] Yeah.

[00:40:28] Okay.

[00:40:28] Okay.

[00:40:29] Okay.

[00:40:30] So Dougie do it.

[00:40:31] Dougie do it.

[00:40:32] Dougie do it.

[00:40:33] Anyway, episode eight of Twin Peaks Return, Twin Peaks Return.

[00:40:39] Twin Peaks The Return.

[00:40:40] It does begin with Mr. C and Ray driving through the night.

[00:40:44] And it's kind of, first there's the kind of hilarious tracker device.

[00:40:48] I love the technology that it all reminds me of those phones that used to get that have

[00:40:54] the giant push buttons that are like for older people.

[00:40:58] Right.

[00:40:58] Right.

[00:40:58] Right.

[00:40:58] It just looks like someone worked up some special effects in like Excel.

[00:41:03] It's like a big yellow box and a big black box.

[00:41:06] Every computer that's used in the return feels like it's designed in that way where it's just

[00:41:14] to look very clear.

[00:41:16] You type sentences in all caps.

[00:41:18] I genuinely mean this.

[00:41:20] I love the shit that David Lynch just doesn't care about.

[00:41:24] You know, that it doesn't feel like, oh, he's just lazy.

[00:41:28] He's phoning this part in or whatever, where he's just like, this isn't important.

[00:41:32] Just come up with the simplest representational version of this.

[00:41:35] I'm not going to make like a fucking meal out of this.

[00:41:38] If it if it like translates enough for the audience to get it, this is like means to an

[00:41:42] end.

[00:41:43] What do I really want this episode to focus on?

[00:41:45] You know?

[00:41:46] Yeah.

[00:41:46] So they drive.

[00:41:48] I think there's this kind of awesome.

[00:41:50] And I do feel like it's getting you in the mood sort of a couple of minutes of just

[00:41:55] like you're watching the road and it's dark.

[00:41:59] Right.

[00:41:59] Sort of lost highway vibes.

[00:42:01] Right.

[00:42:01] You're just driving through this like total black.

[00:42:05] Right.

[00:42:05] It's like this mystery location.

[00:42:07] Like state these episodes maintain where like at any moment you're like, is the whole episode

[00:42:12] going to be set in this car?

[00:42:14] You know?

[00:42:15] Or are they going to cut away from this in like 10 seconds and never get back to this

[00:42:19] again for hours?

[00:42:22] There's there's not a sense of like temporal security while watching the show.

[00:42:27] In my experience, he also will like if you look at some of these scenes.

[00:42:33] He'll have two people driving a car cut to that classic Lynchian just shot of the yellow

[00:42:39] line of the point of view of the car sort of at the road and then cut back to them talking

[00:42:46] and then cut to that again.

[00:42:48] And you're like most filmmakers would have one cut to that and not more unless they were

[00:42:53] having lots of time pass or something.

[00:42:55] But he'll sometimes just like, well, let's see this for a while now.

[00:42:58] Now let's cut back to them for some more.

[00:43:00] Right.

[00:43:00] Let's cut to it again.

[00:43:01] Like it's sort of he doesn't.

[00:43:03] It's a rhythmic thing.

[00:43:05] Yeah, he it's the amount of patience that he has for like how long how how long we look

[00:43:12] at certain things.

[00:43:13] Well, to your point, there are two different uses that most filmmakers would like have for

[00:43:20] that kind of cutaway.

[00:43:21] Right.

[00:43:22] One is like time jump, as you said.

[00:43:25] And the second one is, oh, I had the scene play out in a two shot.

[00:43:29] And I didn't get coverage.

[00:43:31] And the scenes playing too long.

[00:43:33] So if we have a reverse of the road, that way I can cut to that and cut back and cut

[00:43:38] inner fat within the scene, which is the opposite of what he's doing.

[00:43:41] He's letting you watch them in silence for minutes like he's actually using it to stretch

[00:43:47] time out more rather than to compress.

[00:43:49] I also, you know, there's there's we talked about this on the previous episode where I

[00:43:55] I we got into a little bit where I declared that the missing pieces counted as a standalone

[00:44:01] feature film.

[00:44:02] Yes.

[00:44:02] Yeah.

[00:44:03] Right.

[00:44:03] You guys came to blows.

[00:44:04] And then the.

[00:44:07] Yeah.

[00:44:07] We don't need to read this.

[00:44:08] But if you look at I just rewatched Blue Velvet and the deleted scenes for Blue Velvet, which

[00:44:15] are pretty significant length.

[00:44:17] And it's a lot of a lot of it is just establishing that Jeffrey is at school and dating Megan

[00:44:23] Mullally.

[00:44:24] And and then he his father has a health episode and he comes back to stay there.

[00:44:30] All stuff that's established just by him showing up at his first scene.

[00:44:33] Like, yeah, I'm here.

[00:44:35] Right.

[00:44:35] He cares about that stuff.

[00:44:36] Yeah.

[00:44:36] And there's almost like a.

[00:44:37] I have seen the Megan Mullally.

[00:44:39] I think she's posted the clip or whatever.

[00:44:41] Yeah.

[00:44:41] She's got a kind of feathered hair.

[00:44:43] It does add an element of like he's not just involved with two women that he's also got

[00:44:48] a girlfriend at school.

[00:44:49] It does add an element of that.

[00:44:52] He's he's more of a he's a three woman man, not a two woman man.

[00:44:57] Sure.

[00:44:57] In that movie.

[00:44:58] Yeah.

[00:44:59] But generally speaking, like if you look at at most of David Lynch's movies, there are

[00:45:04] a lot of pretty significant deleted scenes that don't make their way.

[00:45:10] And Fire Walk With Me being the most the biggest example where you have literally a feature

[00:45:14] film's worth of deleted scenes with other characters, other things going on.

[00:45:19] Inland has that to cut in a Fire Walk With Me way of like.

[00:45:23] Yeah.

[00:45:24] A semi side feature and wake up Ron Burgundy.

[00:45:28] Yeah.

[00:45:29] Yes.

[00:45:29] Lynch makes a lot of wake up Ron Burgundy.

[00:45:31] Lynch loves wake up Ron Burgundy.

[00:45:33] Yeah.

[00:45:34] And the alarm clock gang should have made the theatrical cut.

[00:45:39] I should have put Gethard in the main cut of part two.

[00:45:42] Why are all other filmmakers afraid to put Gethard in the theatrical?

[00:45:48] All different jokes from different takes.

[00:45:52] It's a bizarro cut like Wanderlust.

[00:45:56] The same story beats, but new jokes in every scene.

[00:46:01] Every joke is an alt.

[00:46:03] Anyway.

[00:46:04] You know what's the kind of crazy fucked up shit Lynch would do?

[00:46:07] What's that?

[00:46:08] Make a movie that's only Gethard and cut everyone else out as a fuck you to the studios.

[00:46:14] Let's bring Geth.

[00:46:15] Let's bring Geth.

[00:46:16] I'd like to think that he would have.

[00:46:18] He would call him Gath.

[00:46:21] The way he calls Kyle McLaughlin Kale.

[00:46:25] He'd be like, let's bring Gath in for a Gath take.

[00:46:29] What was your point?

[00:46:30] My point?

[00:46:31] Okay.

[00:46:32] No, no.

[00:46:32] My point was.

[00:46:34] And don't worry, we're going to circle back to this later.

[00:46:36] One of the producers, I can't remember the name of the producer who said this, on The Return

[00:46:41] was asked, like, are there deleted scenes from The Return?

[00:46:44] Sabrina Southerman.

[00:46:45] Sabrina Southerman.

[00:46:45] I saw this quote.

[00:46:47] She basically said, no.

[00:46:48] Yeah.

[00:46:49] And I do think that, and I don't say this as, this is going to sound like a burn.

[00:46:54] I love The Return.

[00:46:55] I do think I've never seen something where I was more quickly convinced that everything

[00:47:02] that was shot had been used.

[00:47:03] Yeah.

[00:47:03] I mean, all this stuff that maybe would have been cut, I love that it exists.

[00:47:09] It's magic.

[00:47:10] This thing is magic.

[00:47:11] But yes, any studio in their right mind would be like, we're fucking cutting him spray painting

[00:47:16] the shovels.

[00:47:17] Well, look, that's the first moment that came to mind.

[00:47:19] Right.

[00:47:20] We're cutting Ashley Judd just walking around the room being like, I don't know if I hear

[00:47:24] something, you know, like shit like that.

[00:47:26] But like, of course, that has to be in the shovels thing.

[00:47:28] Like any other filmmaker would be like, look, let's get two minutes of footage.

[00:47:32] So we have options and then we'll pick the best 10 seconds to use.

[00:47:36] And David Lynch is like, no, the whole four continuous minutes.

[00:47:41] And then you're like, what about the other angle you shot?

[00:47:43] And he's like, that's its own four minutes in another episode.

[00:47:47] There is.

[00:47:47] There's a thing that directors will say when they're filming.

[00:47:50] Gethard is holding the shovel.

[00:47:52] There's a thing that a director will say when they're filming something that they may or

[00:47:56] may not use.

[00:47:57] They're like, well, it's just just so we have it.

[00:47:58] Yes.

[00:47:59] And I do feel like Twin Peaks The Return could have been called Twin Peaks just so we have

[00:48:03] it.

[00:48:03] And even beyond that, at times you watch it and you're like, where's the main footage?

[00:48:08] It feels like you're watching a missing pieces, you know?

[00:48:13] Well, I think there were a lot of fans who that was their exact reaction to the show.

[00:48:17] Initially was like, no, but where's the actual plot line of the show of Cooper reuniting with

[00:48:24] his buddies at the sheriff's office?

[00:48:28] Is Annie okay?

[00:48:29] Right.

[00:48:29] Yeah.

[00:48:30] To maybe rescue Laura or Annie or to defeat Bob once and for all.

[00:48:36] I like that comment.

[00:48:38] Right.

[00:48:38] And this is why I think the missing pieces is such a perfect bridge between Firewalk with

[00:48:44] Call it a movie.

[00:48:44] To The Return.

[00:48:45] Because I do think that 21st century Lynch is more, this is his rhythm of storytelling,

[00:48:54] which is sort of like a little bit less worried about like, does this move the story forward?

[00:49:02] And a little bit more like, let's put it all in there.

[00:49:05] That the missing pieces sort of all work together in the same sort of rhythm that I think they

[00:49:12] really prepare you for the rhythm of The Return, which is like the thing you think you want,

[00:49:18] you may or may not get it, but you're going to get a lot of stuff that another person,

[00:49:22] if someone had given notes to The Return, if Lynch came to someone and said, I got to cut

[00:49:28] this down to 10 episodes, it would not be hard. You could easily do a 10 episode cut of this.

[00:49:34] That would be, that would hit all the main beats you need to hit. And you, and then you have like

[00:49:40] a missing pieces style thing. That's like, oh, here's like Harry Truman's, um, Frank Truman.

[00:49:45] Yeah.

[00:49:46] Jesus.

[00:49:46] Him on the phone with, um, uh, uh, Dr.

[00:49:51] Uh, Russ Tamblyn.

[00:49:52] No, no.

[00:49:53] Oh, Warren Frost.

[00:49:54] Uh, Frost Dad.

[00:49:56] Yeah.

[00:49:56] That is a great example of a scene that could have been, if there was a Twin Peaks The Return,

[00:50:01] the missing pieces where it's like, we really want to, it's nice to see this character,

[00:50:05] but it doesn't, uh, move forward any like of the chess pieces.

[00:50:11] Or I think more realistically, a version of that scene that is cut down to 30 seconds,

[00:50:14] that is just like, we're just letting the audience know where he is and moving on.

[00:50:18] They just need to see his face for five seconds. Isn't it nice that we got him on a Skype window?

[00:50:22] So, in episode eight, after the part where, the part where they pull Bob out of the stomach of, uh...

[00:50:32] Let's just go through this because we're almost there.

[00:50:34] Yeah.

[00:50:34] So, they get to this hill, right?

[00:50:36] And, uh, you know, Ray shoots Coop.

[00:50:40] He goes to take a leak in the woods.

[00:50:42] Coop's got a gun.

[00:50:43] And you think he's about to pull out on him.

[00:50:46] Then you see that he also has a gun.

[00:50:49] Ray has anticipated that he's in trouble.

[00:50:51] So, he shoots Coop.

[00:50:52] Turns around, Coop's gun is empty.

[00:50:54] He left an unloaded golden gun in the glove compartment for Mr. C.

[00:50:58] Uh, Mr. C falls and you're like, okay, big twist.

[00:51:01] We'll see what...

[00:51:01] He calls him a fucker, too.

[00:51:03] Uh-huh.

[00:51:03] Pretty rude of him.

[00:51:04] That's kind of even ruder than the gunshots, I would almost argue.

[00:51:07] I'm not trying to...

[00:51:08] Again, I'm not trying to sound like some naive fool who is like,

[00:51:11] I really had a handle on Twin Peaks, The Return, up to this point.

[00:51:14] And I was, like, completely grasping everything it was doing.

[00:51:17] But nonetheless, him, like, falling to the ground

[00:51:21] and then suddenly a bunch of sooty woodsmen emerging from the forest,

[00:51:26] like, kind of fading in and out of reality,

[00:51:28] and then just kind of going like, I don't know how...

[00:51:31] I'm just doing what they do.

[00:51:32] And for the listener, David's doing an incredible...

[00:51:34] I don't know where he conjured the emotion to...

[00:51:36] He pulled...

[00:51:36] He pushed back from the desk

[00:51:39] and started paddling his hands frantically in the air,

[00:51:42] eyes closed.

[00:51:42] He really got into it.

[00:51:44] But it was like he was conjuring something.

[00:51:46] Like, David was, like, in touch with spirits from another plane.

[00:51:49] I felt so helpless watching that sequence.

[00:51:53] When they come out of the earth and start dancing around

[00:51:57] and Ray falls to the ground, I felt like Ray.

[00:52:00] I felt like I, as a viewer,

[00:52:02] had, like, lost control of my point of view watching it.

[00:52:05] You're just like, I have to pay attention

[00:52:08] because this is dark and mysterious what is happening.

[00:52:11] They seem to sort of, like, smear mud and blood all over him, right?

[00:52:14] And then they, you know, like, as you say,

[00:52:16] they...

[00:52:17] All this crazy shit, you know, is happening.

[00:52:20] But it's my favorite thing about David Lynch

[00:52:23] where you're like, there's actual sort of, like,

[00:52:25] plotty import to what is going on.

[00:52:28] And yet this is also imagery that I could pour over

[00:52:32] and have thoughts about, have theories about,

[00:52:35] or interpretations of for the rest of my life.

[00:52:38] And I'll be just fine, too.

[00:52:39] Well, I do want to hear you unpack both sides of that.

[00:52:41] Um, well, okay.

[00:52:43] Well, so basically, they tear, you know, a ball,

[00:52:48] as sort of Connor was basically setting up...

[00:52:51] A ball.

[00:52:51] A ball.

[00:52:51] Bob's facing it.

[00:52:53] Yeah.

[00:52:53] Out of Mr. C.

[00:52:55] Mm-hmm.

[00:52:56] And they sort of show it to Ray.

[00:52:58] Right.

[00:52:58] Here's the evil.

[00:52:59] It's right here.

[00:53:00] It presumably is covered in some sort of viscous fluid,

[00:53:04] so it could be considered one saliva bob ball.

[00:53:07] Well, Connor, well done.

[00:53:11] And, you know, there's sort of a plainness

[00:53:13] to how Lynch thinks about this stuff

[00:53:16] or presents this stuff, right?

[00:53:18] And it was true in original Twin Peaks, too, right?

[00:53:20] Where it's like, you'll know that Leland is possessed by Bob

[00:53:23] because Leland will look at the mirror

[00:53:25] and then his face will just turn into Bob's face and back.

[00:53:29] And he's like, this isn't more complicated than you think it is.

[00:53:32] Like, that's what I want you to understand here.

[00:53:34] And so in the same way where it's like,

[00:53:36] do you know what's inside Mr. C kind of making him work?

[00:53:39] It's like Bob, his head in a globe, kind of.

[00:53:44] Like, and it's inside of his tummy.

[00:53:46] That's, I just want you guys to get that.

[00:53:48] Yeah, you talk about the feeling of losing control, right?

[00:53:51] I feel like whereas his, like, use of time in this show,

[00:53:56] in this series season in particular,

[00:53:59] feels like up until this point,

[00:54:01] a lot of, like, forcing you to live in things

[00:54:03] and recalibrate away from the rhythms you're used to.

[00:54:07] The way he uses the various effects

[00:54:10] for the rest of the episode at this point

[00:54:12] does feel like he is forcing you to stay in these things

[00:54:16] for an uncomfortable amount of time that creates its own tension,

[00:54:19] if that makes sense.

[00:54:21] And it also is the thing that, like,

[00:54:23] he, I don't,

[00:54:24] it is kind of astonishing and inexplicable

[00:54:28] how much he is able to get so much visceral power

[00:54:31] out of using the most basic,

[00:54:34] sort of, like, original,

[00:54:39] like, language of trickery in cinema.

[00:54:42] Right?

[00:54:42] Where it's just like,

[00:54:43] he's like,

[00:54:43] if I basically do a digital version

[00:54:45] of a double exposure,

[00:54:47] a thing that has been done since the 19th.

[00:54:50] Since fucking Lumelier.

[00:54:52] Right.

[00:54:52] Exactly.

[00:54:52] It's like one of the first building blocks

[00:54:54] of film language of, like,

[00:54:55] here's weird shit you can do with cameras.

[00:54:57] And he's just like,

[00:54:58] that's somehow more evocative,

[00:55:00] or at least I know how to make it more evocative

[00:55:02] than what a lot of other people, I think,

[00:55:04] would over-conceptualize

[00:55:07] as, like,

[00:55:08] as you're saying,

[00:55:09] like, what's the simplest version of this?

[00:55:10] And does that have some weird power to it?

[00:55:12] It's also interesting to me when,

[00:55:14] and we'll talk about this in other parts of the episode,

[00:55:18] because throughout The Return,

[00:55:19] you know,

[00:55:20] there's a little bit more of a,

[00:55:21] you know,

[00:55:22] a digital look to this series.

[00:55:25] And very often there are effects

[00:55:27] that are very cheap looking.

[00:55:30] Simple.

[00:55:31] Digital.

[00:55:31] But, like,

[00:55:32] digital looking cheap effects

[00:55:34] that are very much on purpose,

[00:55:37] because you look at

[00:55:38] what a lot of the things in this episode

[00:55:41] that you would,

[00:55:42] that are essentially effects,

[00:55:43] and they are not at all cheap looking.

[00:55:45] They are, like,

[00:55:46] some of the best,

[00:55:47] most beautiful looking digital effects.

[00:55:50] I almost feel

[00:55:51] dirty using the word digital

[00:55:53] to describe them.

[00:55:54] But then you also get shit, like,

[00:55:57] when there's, like,

[00:55:58] the extended sequence

[00:55:59] of the people entering and exiting

[00:56:01] the general store.

[00:56:02] And it's basically, like,

[00:56:04] weaponizing the language

[00:56:05] that we're used to

[00:56:06] of what it feels like

[00:56:07] when you're watching something

[00:56:08] that starts glitching out.

[00:56:10] When your service is interrupted.

[00:56:12] Yeah.

[00:56:12] You know,

[00:56:12] it's, like,

[00:56:13] so unnerving to, like,

[00:56:14] I am watching this on a disc,

[00:56:16] and my brain cannot stop going,

[00:56:18] like,

[00:56:18] is the player malfunctioning.

[00:56:19] And I know from, like,

[00:56:21] second two,

[00:56:22] like,

[00:56:22] this is clearly

[00:56:22] an intentional lynch thing,

[00:56:24] but making us sit in that

[00:56:26] for, like,

[00:56:26] minutes

[00:56:27] does something to your brain

[00:56:29] where you're just, like,

[00:56:30] this is wrong.

[00:56:31] I'm used to panicking

[00:56:32] when this happens

[00:56:33] and then, like,

[00:56:34] checking my Wi-Fi

[00:56:35] or, like,

[00:56:36] checking the cables

[00:56:37] or, like,

[00:56:38] hitting a device.

[00:56:39] There's something unnerving

[00:56:41] about how much

[00:56:43] he simplifies it.

[00:56:44] And as much as,

[00:56:45] yes,

[00:56:45] you're saying in this episode

[00:56:46] he shows you that, like,

[00:56:47] I could make the effects

[00:56:48] look perfect if I wanted to.

[00:56:50] Sometimes there's something

[00:56:51] more disconcerting

[00:56:52] about, like,

[00:56:53] why is it that simple?

[00:56:55] Um,

[00:56:55] so,

[00:56:57] whatever.

[00:56:58] This thing is revealed.

[00:57:00] Ray,

[00:57:01] as I would,

[00:57:02] runs away.

[00:57:03] They're smearing the blood

[00:57:04] all over Mr. C's body.

[00:57:05] Yeah, but Ray's like,

[00:57:05] I'm getting the fuck out of here.

[00:57:07] He runs away.

[00:57:08] There's a scene.

[00:57:09] He calls.

[00:57:09] This phone call

[00:57:10] is probably one of the funnier

[00:57:12] unintentionally funnier

[00:57:13] things in the episode,

[00:57:14] which is

[00:57:15] his description

[00:57:16] of what happened.

[00:57:18] Let me,

[00:57:18] let me,

[00:57:19] in fact,

[00:57:19] I,

[00:57:19] I can probably read

[00:57:20] the dialogue.

[00:57:21] You know,

[00:57:22] he calls,

[00:57:22] who he's calling

[00:57:23] is Jeffries,

[00:57:24] right?

[00:57:24] But it's sort of,

[00:57:25] I mean,

[00:57:26] it doesn't really matter.

[00:57:27] But,

[00:57:27] I mean,

[00:57:28] like,

[00:57:28] that's for nerds,

[00:57:29] like,

[00:57:30] you or I,

[00:57:30] to think about

[00:57:31] the fact that

[00:57:32] Philip Jeffries,

[00:57:32] the David Bowie character

[00:57:33] who is now a giant teapot,

[00:57:35] is, like,

[00:57:35] directing

[00:57:36] an agency

[00:57:37] against Mr. C.

[00:57:38] I mean,

[00:57:38] that's a spoiler

[00:57:39] in the weirdest

[00:57:41] way possible.

[00:57:42] It's not really important

[00:57:43] to the show

[00:57:43] in any way,

[00:57:44] but I guess

[00:57:45] if you want to know it,

[00:57:46] you can.

[00:57:47] Bowie had passed away

[00:57:48] by this point already?

[00:57:50] Bowie had died.

[00:57:51] Bowie was supposed to be in it.

[00:57:52] He was supposed to be in it.

[00:57:53] Or maybe at least

[00:57:54] lend his voice to it.

[00:57:56] And he had died

[00:57:57] in 2016,

[00:57:58] and I think

[00:57:59] it just didn't happen.

[00:58:00] But everything

[00:58:00] we've described so far

[00:58:01] happens basically

[00:58:02] within 10 minutes,

[00:58:04] right?

[00:58:04] And then the phone call

[00:58:06] happens around minute 11.

[00:58:07] I think he's dead,

[00:58:08] but he's found

[00:58:09] some kind of help,

[00:58:10] so I'm not 100%,

[00:58:12] and I, uh,

[00:58:14] I saw something

[00:58:15] in Cooper

[00:58:17] may be the key

[00:58:18] to what this is all about.

[00:58:20] And then,

[00:58:21] of course,

[00:58:21] we're like,

[00:58:22] oh my god,

[00:58:22] big revelations coming,

[00:58:24] cut to

[00:58:24] Nine Inch Nails

[00:58:26] performance.

[00:58:26] The Nine Inch Nails.

[00:58:28] The Nine Inch Nails

[00:58:29] presented by

[00:58:30] the MC character here

[00:58:32] we basically have not seen

[00:58:33] in the previous

[00:58:34] musical performances.

[00:58:36] We're obviously getting,

[00:58:36] like,

[00:58:37] a Roadhouse musical number

[00:58:38] in almost every episode,

[00:58:39] if not every episode.

[00:58:40] But I feel like

[00:58:41] this sort of,

[00:58:42] like,

[00:58:42] MC character speaking

[00:58:43] to the mic

[00:58:43] with the pine cone.

[00:58:45] Uh,

[00:58:45] yeah,

[00:58:46] sure,

[00:58:46] sure.

[00:58:47] I guess you're right.

[00:58:48] I don't remember seeing.

[00:58:49] Just as you're saying,

[00:58:50] like,

[00:58:50] doing the sort of introduction,

[00:58:52] ladies and gentlemen,

[00:58:53] the Nine Inch Nails

[00:58:53] as if they're the

[00:58:54] fucking SNL musical guest.

[00:58:56] Uh,

[00:58:57] feels like a new frame

[00:58:58] for these performances.

[00:59:00] It's his first appearance.

[00:59:01] Okay.

[00:59:02] Uh,

[00:59:02] he has several more,

[00:59:03] though,

[00:59:03] so we will see him again.

[00:59:04] And I will say,

[00:59:05] I'm not gonna spoil,

[00:59:06] I'm not gonna spoil this.

[00:59:08] There will be a point

[00:59:09] where,

[00:59:10] where we see him again.

[00:59:12] I won't be around

[00:59:13] to discuss it with you.

[00:59:14] And I'll miss you dearly.

[00:59:16] But when it happens,

[00:59:17] I will,

[00:59:18] I'll say to you,

[00:59:19] there is a contender

[00:59:20] for what I think

[00:59:21] is the most surprising moment,

[00:59:23] uh,

[00:59:24] in all of

[00:59:24] Twin Peaks The Return.

[00:59:26] At least purely

[00:59:27] just in terms of like,

[00:59:28] I wouldn't,

[00:59:29] if you'd given me

[00:59:29] a thousand guesses,

[00:59:30] I never would have guessed

[00:59:31] this would be a thing

[00:59:32] that would happen.

[00:59:32] Do you think you know

[00:59:33] what he's talking about,

[00:59:34] David?

[00:59:34] I'm not sure.

[00:59:35] I'd love to,

[00:59:35] I mean,

[00:59:35] there's so many things

[00:59:36] to think about.

[00:59:36] But the Nine Inch Nails

[00:59:38] performance,

[00:59:38] we should just say,

[00:59:41] that is

[00:59:41] the sort of

[00:59:43] demarcation point.

[00:59:43] We don't know it

[00:59:44] at the time,

[00:59:44] but it is unusual

[00:59:45] in the show right now

[00:59:46] for there to be,

[00:59:47] uh,

[00:59:48] a musical act

[00:59:49] in the middle.

[00:59:50] I was gonna say,

[00:59:50] not all,

[00:59:51] but a lot of them,

[00:59:52] right,

[00:59:52] that's,

[00:59:53] that's the end

[00:59:55] it's,

[00:59:56] it's Nine Inch Nails,

[00:59:58] right?

[00:59:58] It's not just,

[00:59:59] It's a big game.

[00:59:59] Yeah,

[01:00:00] exactly.

[01:00:00] And it's this incredibly,

[01:00:02] you know,

[01:00:04] vivid performance.

[01:00:05] Trent's got his sunglasses on.

[01:00:07] He's wailing.

[01:00:08] Go ahead.

[01:00:08] They're projecting

[01:00:09] sort of

[01:00:10] digital static

[01:00:11] over them.

[01:00:13] Uh-huh.

[01:00:14] Like as a,

[01:00:15] as like a,

[01:00:15] a live effect.

[01:00:16] It's not like,

[01:00:18] uh,

[01:00:18] a video image manipulation

[01:00:19] of how they're filming it.

[01:00:21] It's like from

[01:00:22] the tech booth.

[01:00:25] Yeah.

[01:00:25] At the Roadhouse.

[01:00:26] Right.

[01:00:27] Yeah.

[01:00:27] Do you know this song,

[01:00:28] uh,

[01:00:28] She's Gone Away?

[01:00:30] Are you a Nine Inch Nails guy,

[01:00:32] Connor?

[01:00:32] No,

[01:00:33] not really.

[01:00:34] Um,

[01:00:34] I,

[01:00:34] I know very little

[01:00:35] about it.

[01:00:36] I was looking at the lyrics

[01:00:37] to this before.

[01:00:38] It does feel-

[01:00:38] It was like a recent song.

[01:00:40] Like it was like a,

[01:00:40] from a recent EP.

[01:00:42] Ben,

[01:00:42] do you care for this song?

[01:00:43] I'm not really

[01:00:44] that up on

[01:00:46] late career

[01:00:47] Nine Inch Nails,

[01:00:49] but I like the song.

[01:00:50] I think he,

[01:00:51] it just,

[01:00:52] it's crazy how much

[01:00:53] he doesn't seem to age,

[01:00:55] Trent Reznor.

[01:00:56] Uh,

[01:00:56] it's true.

[01:00:57] He's so hot

[01:00:58] still.

[01:00:59] The wild thing for me

[01:01:00] is just the like,

[01:01:02] last like 10,

[01:01:03] 15 years turn

[01:01:04] of him becoming

[01:01:05] jacked as hell.

[01:01:06] Yeah,

[01:01:06] he is very-

[01:01:07] I feel like he was always

[01:01:08] like this weird,

[01:01:09] emo,

[01:01:10] wispy,

[01:01:11] like weirdo,

[01:01:12] sensitive,

[01:01:13] you know,

[01:01:13] dark goth guy.

[01:01:14] And then at some point

[01:01:15] he like started looking

[01:01:16] like the bully

[01:01:17] in an 80s teen company.

[01:01:20] I think he got sober.

[01:01:21] Sure.

[01:01:22] And,

[01:01:23] you know,

[01:01:23] there's a natural progression

[01:01:24] to eventually

[01:01:25] getting yoked.

[01:01:26] I just remember

[01:01:27] there,

[01:01:28] my first exposure

[01:01:30] to the idea

[01:01:31] of Trent Reznor

[01:01:32] was Celebrity Deathmatch,

[01:01:34] where the puppet

[01:01:35] looked like he was like,

[01:01:36] the fuck,

[01:01:37] like a scarecrow

[01:01:38] or some shit,

[01:01:38] you know?

[01:01:39] And it was like,

[01:01:40] oh,

[01:01:40] he's like this weird,

[01:01:41] moody guy.

[01:01:42] And I believe

[01:01:43] they gave him

[01:01:44] literal nine-inch nails.

[01:01:46] I just looked it up.

[01:01:47] He was fighting

[01:01:48] Puff Daddy.

[01:01:49] Yeah,

[01:01:50] Puff Daddy,

[01:01:50] because it's rap

[01:01:51] versus rock.

[01:01:52] Yes,

[01:01:52] they made them represent

[01:01:53] the two sides.

[01:01:54] Celebrity Deathmatch

[01:01:55] is one of those things

[01:01:56] that when that was on,

[01:01:57] when I was like 12,

[01:01:58] we were all like,

[01:01:59] this is like the pinnacle

[01:02:00] of art.

[01:02:00] Oh,

[01:02:01] it was.

[01:02:01] And I'm sure

[01:02:01] if I watch it now,

[01:02:02] I'd be like,

[01:02:03] this is fucking so bad.

[01:02:04] I've tried to go back

[01:02:05] and watch them.

[01:02:06] Not funny at all.

[01:02:07] I wouldn't say it's bad,

[01:02:08] but it is bizarre

[01:02:09] to watch now.

[01:02:10] I think there is

[01:02:11] good craft behind it,

[01:02:13] let me say.

[01:02:14] But you're just like,

[01:02:15] yes,

[01:02:16] exactly.

[01:02:16] When I was like 10 years old,

[01:02:18] I was like,

[01:02:18] we,

[01:02:19] I treated every episode

[01:02:20] of Celebrity Deathmatch

[01:02:22] as if it were part eight

[01:02:23] of Twin Peaks The Return,

[01:02:25] where I was like,

[01:02:25] the rules have been rewritten.

[01:02:26] How can anyone make TV

[01:02:28] after this?

[01:02:29] Eric Fogel's done it again.

[01:02:30] We should also shout out

[01:02:31] Atticus.

[01:02:33] Atticus Ross.

[01:02:33] Atticus Ross.

[01:02:34] People is a member

[01:02:35] of Nine Inch Nails.

[01:02:37] I think he got added

[01:02:38] later.

[01:02:38] He's basically the only

[01:02:39] other permanent member now.

[01:02:42] Right?

[01:02:43] Yeah.

[01:02:43] And he does his scores

[01:02:44] with him, obviously,

[01:02:45] and he's a lovely British man.

[01:02:46] I've,

[01:02:46] I've,

[01:02:47] I've talked about it

[01:02:48] on the show.

[01:02:48] People got angry

[01:02:49] we didn't give enough credit

[01:02:50] when we've talked about

[01:02:51] Reznor-Ross scores.

[01:02:52] Oh,

[01:02:53] Lord.

[01:02:53] Okay.

[01:02:53] Well,

[01:02:53] people get angry

[01:02:54] about everything.

[01:02:55] Anyway,

[01:02:55] I just love the,

[01:02:56] uh,

[01:02:57] uh,

[01:02:57] the performance.

[01:02:58] It's cool.

[01:02:59] Anyway,

[01:03:00] but as a mood setter,

[01:03:01] it's,

[01:03:02] and then Mr. C like pops up

[01:03:03] when it's over.

[01:03:04] Yeah.

[01:03:04] It's a real,

[01:03:05] like when you,

[01:03:05] especially once you know

[01:03:06] what the whole episode is,

[01:03:08] you,

[01:03:08] I look at that as like,

[01:03:10] this is the moment

[01:03:10] where Lynch decides like,

[01:03:12] we're breaking

[01:03:13] the form completely.

[01:03:15] We're going to just have

[01:03:16] a full musical number,

[01:03:17] which is not something

[01:03:19] that scripted television

[01:03:20] traumas do.

[01:03:21] Credits not playing over it,

[01:03:23] not cutting to like dialogue

[01:03:24] happening between

[01:03:26] Roadhouse patrons

[01:03:27] in between.

[01:03:28] Like,

[01:03:29] it's just fully,

[01:03:30] right.

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[01:04:27] We're about 15 minutes

[01:04:28] into the show.

[01:04:29] It's a 45 minute

[01:04:30] or more than that.

[01:04:31] And looking at

[01:04:32] the lyrics

[01:04:33] to that song,

[01:04:35] it does feel like

[01:04:36] a very,

[01:04:37] I mean,

[01:04:38] I'm sure this is true

[01:04:38] of a lot of,

[01:04:39] but I mean,

[01:04:40] you dig in places

[01:04:40] till your fingers bleed,

[01:04:42] spread the infection

[01:04:43] where you spill your seed,

[01:04:44] does feel like a lyric

[01:04:45] that you could put over

[01:04:46] the images

[01:04:47] of the woodsman

[01:04:48] digging through

[01:04:50] Mr. C's stomach.

[01:04:52] Now,

[01:04:52] who do you think

[01:04:53] the woodsman represent

[01:04:54] or what the woodsman are?

[01:04:55] I need you to start

[01:04:56] unpacking all of this.

[01:04:57] We're such a big part

[01:04:58] of Twin Peaks The Return,

[01:04:59] but of course,

[01:05:00] they're in Fire Walk

[01:05:01] with me in this sort of

[01:05:02] kind of goofier way

[01:05:04] where they're like

[01:05:04] guys in flannel.

[01:05:06] They're in The Missing Pieces.

[01:05:08] Juergen Prochnow,

[01:05:08] I always like to shout out,

[01:05:09] is in like one shot

[01:05:10] with a giant fake beard

[01:05:12] as one of the woodsmen.

[01:05:13] I'll show you.

[01:05:14] He's also in one shot

[01:05:15] of the theatrical.

[01:05:17] Is he not?

[01:05:17] I believe so.

[01:05:18] Yeah.

[01:05:18] I would say like

[01:05:20] the first indication

[01:05:21] when you have season one

[01:05:22] of Twin Peaks,

[01:05:23] the first sort of indications

[01:05:25] of the supernatural things

[01:05:27] that will immediately

[01:05:28] start happening in season two

[01:05:29] is them talking about

[01:05:31] there's like something

[01:05:32] in the woods.

[01:05:33] There's like,

[01:05:33] it's this,

[01:05:34] you know,

[01:05:34] Cooper's talking about

[01:05:35] how fascinated he is.

[01:05:36] What are these trees?

[01:05:38] And all the shots

[01:05:39] of the woods and everything.

[01:05:40] But when the,

[01:05:41] when like Sheriff Truman

[01:05:42] and Big Ed

[01:05:42] start talking to him

[01:05:43] about how there's something

[01:05:44] in these woods,

[01:05:46] I feel like the woodsmen

[01:05:47] are just the natural way

[01:05:48] of like,

[01:05:49] it's either that

[01:05:50] or you'd have the trees

[01:05:50] come to life,

[01:05:51] you know,

[01:05:51] like just a way

[01:05:53] of representing.

[01:05:54] I don't know what they want.

[01:05:56] I don't know what their goals are,

[01:05:58] what their aims are.

[01:05:58] I don't know whose side

[01:05:59] they're on.

[01:06:01] Um,

[01:06:02] I tend to think

[01:06:03] they're bad.

[01:06:04] they seem to mostly,

[01:06:05] I mean,

[01:06:06] they're very malevolent

[01:06:07] in this episode.

[01:06:09] They generally are

[01:06:10] in the convenience store

[01:06:11] and all these sorts

[01:06:12] of like liminal spaces

[01:06:13] that we see,

[01:06:15] uh,

[01:06:15] over the course of the show,

[01:06:17] which are,

[01:06:17] you know,

[01:06:18] dark places.

[01:06:19] The Black Lodge.

[01:06:21] A few cells away

[01:06:21] from Matthew Lillard

[01:06:22] in the second episode

[01:06:25] and one's sitting there

[01:06:26] and then he just floats away.

[01:06:27] There's a lot of stuff

[01:06:28] where I'm just like,

[01:06:29] I like this.

[01:06:30] I don't know what it means,

[01:06:31] but I like the feeling I get.

[01:06:33] I'm always excited

[01:06:34] when they show up.

[01:06:36] Um,

[01:06:38] but what we're seeing,

[01:06:39] so Mark Frost has said

[01:06:42] that the,

[01:06:43] uh,

[01:06:43] you know,

[01:06:43] the sort of origin

[01:06:44] of so much

[01:06:45] of the,

[01:06:46] whatever,

[01:06:47] mythology of Twin Peaks

[01:06:49] comes from

[01:06:50] the detonation

[01:06:51] of the first nuclear bomb,

[01:06:52] right?

[01:06:52] And that's what

[01:06:53] episode 8 is about.

[01:06:55] And I think

[01:06:56] it annoys some fans

[01:06:57] in a way

[01:06:58] to be so direct

[01:06:58] about it,

[01:06:59] right?

[01:06:59] Like,

[01:06:59] to be like,

[01:07:01] almost,

[01:07:02] it's not a basic

[01:07:03] observation

[01:07:04] that like,

[01:07:05] some new

[01:07:06] unnatural

[01:07:07] kind of evil

[01:07:08] like,

[01:07:09] was created

[01:07:09] that day.

[01:07:10] But it is,

[01:07:12] um,

[01:07:13] I think the woods,

[01:07:13] you know,

[01:07:14] it still feels profound

[01:07:15] to me.

[01:07:16] The woodsman

[01:07:17] and the Black Lodge

[01:07:18] and the White Lodge

[01:07:19] and all this stuff

[01:07:20] feels older than that.

[01:07:21] They've been around

[01:07:22] in some form,

[01:07:23] right?

[01:07:23] Yeah.

[01:07:23] But Bob,

[01:07:24] this guy

[01:07:25] dressed in denim,

[01:07:27] long hair.

[01:07:28] Sure.

[01:07:29] Like,

[01:07:29] he's new.

[01:07:30] But is some of this,

[01:07:32] I'm gonna just,

[01:07:33] I'm going to

[01:07:34] ask dumb questions

[01:07:35] because you guys

[01:07:37] have been thinking

[01:07:38] on these things

[01:07:38] for years,

[01:07:39] if not decades,

[01:07:40] and I'm new

[01:07:40] to all of this,

[01:07:41] right?

[01:07:41] The next shot,

[01:07:42] to be clear,

[01:07:43] after Mr. C wakes up

[01:07:44] is the slow motion

[01:07:46] shot of the nuke

[01:07:47] going off,

[01:07:47] the Trinity test.

[01:07:50] Is the feeling

[01:07:51] that something

[01:07:53] like the nuclear bomb,

[01:07:55] right,

[01:07:55] this man-made evil,

[01:07:56] somehow collapsed

[01:07:58] this wall

[01:07:59] between,

[01:08:00] as you're saying,

[01:08:00] these sort of

[01:08:01] ancient spiritual

[01:08:02] forces

[01:08:04] and the

[01:08:05] tangible reality.

[01:08:06] That that's

[01:08:07] sort of like,

[01:08:08] the thing that

[01:08:09] started to curse

[01:08:09] Twin Peaks

[01:08:10] is the

[01:08:13] demolishing

[01:08:13] of that barrier.

[01:08:15] Yeah.

[01:08:15] And we see,

[01:08:16] we literally see

[01:08:17] this floating weird

[01:08:18] creature barf up

[01:08:19] a bunch of stuff

[01:08:20] and one of the

[01:08:21] bubbles

[01:08:21] has Bob in it.

[01:08:23] Yes.

[01:08:24] This sort of

[01:08:25] odd creature,

[01:08:26] which is maybe

[01:08:27] Judy,

[01:08:29] right?

[01:08:29] Is sort of like,

[01:08:30] right,

[01:08:30] this sort of

[01:08:32] this entity

[01:08:33] that gets brought up

[01:08:34] a lot in Twin Peaks

[01:08:35] lore.

[01:08:36] I will say that,

[01:08:36] like,

[01:08:37] the,

[01:08:38] this stuff is all

[01:08:39] more fun to watch

[01:08:40] and experience

[01:08:41] than it is to

[01:08:42] talk about.

[01:08:43] I agree.

[01:08:44] Some people got mad

[01:08:44] at me for saying

[01:08:45] that last week,

[01:08:46] though,

[01:08:46] and I do want

[01:08:47] to,

[01:08:48] you know,

[01:08:48] acknowledge that,

[01:08:49] yes,

[01:08:49] some people love

[01:08:49] to delve into

[01:08:50] this lore

[01:08:51] in a deeper way,

[01:08:52] and that's fine.

[01:08:53] It's,

[01:08:54] it's all,

[01:08:55] it all sounds

[01:08:56] kind of stupid

[01:08:58] when talked about,

[01:08:59] and I think

[01:09:00] one of the things

[01:09:01] that's like,

[01:09:02] like,

[01:09:02] Twin Peaks,

[01:09:03] you know,

[01:09:04] it's this thing

[01:09:04] where they're great

[01:09:05] at setting up

[01:09:06] questions,

[01:09:06] and I think

[01:09:07] generally terrible

[01:09:09] at answering

[01:09:10] those questions.

[01:09:10] I think one of the

[01:09:11] things that's so

[01:09:12] great about episode

[01:09:13] eight is that

[01:09:13] it actually

[01:09:14] probably provides

[01:09:16] more tangible

[01:09:16] answers than

[01:09:17] any other episode

[01:09:18] of Twin Peaks.

[01:09:19] That's just kind

[01:09:19] of bewildering

[01:09:20] about episode eight.

[01:09:21] It's the weirdest

[01:09:21] version of an

[01:09:22] explainer episode

[01:09:23] in its form.

[01:09:24] Yeah,

[01:09:24] because basically

[01:09:25] if you wanted

[01:09:26] to give the TV

[01:09:27] guide spoiler summary

[01:09:28] of the thing,

[01:09:29] you'd say

[01:09:29] a nuclear bomb

[01:09:31] unleashes Bob

[01:09:32] into the world,

[01:09:34] then the giant

[01:09:35] or the fireman

[01:09:36] or whatever he's

[01:09:37] called now,

[01:09:37] and I want to get

[01:09:38] her name right

[01:09:39] because it's such

[01:09:39] a great character

[01:09:40] name,

[01:09:43] Senorita Dito

[01:09:44] or Dido?

[01:09:45] Senorita Dido?

[01:09:46] Right.

[01:09:46] And the giant

[01:09:49] basically create

[01:09:50] the spirit

[01:09:50] of Laura Palmer

[01:09:51] as a counterbalance

[01:09:53] to the evil

[01:09:54] of Bob,

[01:09:56] and then

[01:09:57] young Sarah

[01:09:58] Palmer,

[01:10:00] when the

[01:10:02] woodsmen

[01:10:03] knock everybody

[01:10:03] in her hometown

[01:10:04] out,

[01:10:05] this winged

[01:10:07] frog creature

[01:10:08] climbs into

[01:10:09] her body.

[01:10:10] Grasshopper frog.

[01:10:11] Yeah.

[01:10:11] Yeah.

[01:10:12] And so it's like

[01:10:13] this origin story

[01:10:14] of like

[01:10:16] Judy or

[01:10:17] Jowday and

[01:10:17] Bob and

[01:10:18] Laura and all

[01:10:18] these things

[01:10:19] are all created

[01:10:20] in this crazy,

[01:10:24] but I also

[01:10:24] like what I

[01:10:25] enjoy about the

[01:10:26] episode is not

[01:10:26] any of the

[01:10:27] things that

[01:10:28] like I like

[01:10:29] that Sarah

[01:10:31] Palmer isn't

[01:10:31] identified as

[01:10:32] Sarah Palmer

[01:10:33] in the episode.

[01:10:34] Yeah,

[01:10:35] I did not get

[01:10:35] that.

[01:10:36] No,

[01:10:36] I'm getting this

[01:10:37] now.

[01:10:37] It's something you

[01:10:38] kind of realize.

[01:10:39] It's something

[01:10:39] that Mark

[01:10:39] Fox confirms

[01:10:40] in one of the

[01:10:42] books that

[01:10:43] comes along

[01:10:44] with it.

[01:10:44] And it's a

[01:10:45] thing that

[01:10:45] occurred to me

[01:10:46] when I

[01:10:46] watched it,

[01:10:47] but she's

[01:10:47] just called

[01:10:48] young girl.

[01:10:49] And it's

[01:10:49] more fun

[01:10:51] to wonder

[01:10:51] than it is

[01:10:52] to have it.

[01:10:53] Yes,

[01:10:54] that's definitely

[01:10:54] her.

[01:10:56] And you

[01:10:57] know,

[01:10:57] the boy is

[01:10:58] Blue Beetle,

[01:10:58] right?

[01:11:00] The boy is

[01:11:01] Blue Beetle.

[01:11:02] You're saying

[01:11:02] it's the actor

[01:11:02] who plays

[01:11:03] Blue Beetle

[01:11:03] or this

[01:11:04] is David

[01:11:05] Lynch entering

[01:11:06] the DC

[01:11:08] cinematic

[01:11:09] extended universe.

[01:11:10] The boy is

[01:11:11] Blue Beetle.

[01:11:12] Bring Gath

[01:11:13] in for a

[01:11:14] Gath take.

[01:11:15] You know,

[01:11:15] the girl

[01:11:15] His uncle

[01:11:16] is George

[01:11:17] Lopez in a

[01:11:18] winning

[01:11:18] supporting turn.

[01:11:20] Very fun.

[01:11:20] No,

[01:11:21] no,

[01:11:21] you know,

[01:11:21] we,

[01:11:24] you know,

[01:11:24] we not to

[01:11:25] jump ahead,

[01:11:26] but just to

[01:11:26] jump ahead,

[01:11:27] we see

[01:11:29] this girl

[01:11:30] in Los Alamos

[01:11:31] go on a

[01:11:31] date with a

[01:11:32] boy from

[01:11:33] her school

[01:11:34] and that

[01:11:35] actor is

[01:11:35] the kid

[01:11:37] who plays

[01:11:37] Blue Beetle.

[01:11:38] Anyway,

[01:11:39] no,

[01:11:39] first we see

[01:11:40] this,

[01:11:40] right,

[01:11:40] this imagery

[01:11:41] of the

[01:11:42] bomb

[01:11:42] for minutes.

[01:11:44] It's so

[01:11:44] cool.

[01:11:45] I mean,

[01:11:45] yeah,

[01:11:46] this like

[01:11:46] crazy visual

[01:11:47] show of

[01:11:48] fire and

[01:11:49] static.

[01:11:50] That's just

[01:11:51] computer animation,

[01:11:52] right?

[01:11:53] I mean,

[01:11:54] yeah,

[01:11:54] why does that

[01:11:54] shot look so

[01:11:55] good?

[01:11:55] It looks

[01:11:56] incredible.

[01:11:56] I don't

[01:11:56] know.

[01:11:57] Why?

[01:11:57] Why is it

[01:11:58] is it

[01:11:58] computer

[01:11:59] animation?

[01:11:59] Do we know

[01:12:00] that for a

[01:12:00] fact?

[01:12:00] I don't

[01:12:01] fucking know.

[01:12:01] Don't ask

[01:12:02] me.

[01:12:02] David,

[01:12:02] well,

[01:12:03] what would

[01:12:03] it be

[01:12:03] otherwise?

[01:12:04] Yeah,

[01:12:04] I mean,

[01:12:05] like,

[01:12:05] is it a

[01:12:06] bomb they

[01:12:06] set off?

[01:12:07] Like,

[01:12:07] I don't

[01:12:08] know,

[01:12:08] like,

[01:12:08] Christopher Nolan

[01:12:09] made such

[01:12:09] a big deal

[01:12:10] of like,

[01:12:10] I'm doing

[01:12:10] this all

[01:12:11] in camera,

[01:12:12] right?

[01:12:12] He did,

[01:12:13] but I

[01:12:13] mean,

[01:12:13] I certainly

[01:12:14] think we

[01:12:14] get to

[01:12:15] he lied.

[01:12:15] He lied.

[01:12:16] He lied and

[01:12:17] people died.

[01:12:18] Well,

[01:12:18] I'm not saying

[01:12:19] there's a

[01:12:20] connection.

[01:12:20] It's just

[01:12:21] that since

[01:12:22] Christopher Nolan

[01:12:22] told those

[01:12:23] lies,

[01:12:23] there are

[01:12:24] human beings

[01:12:24] who have

[01:12:25] died.

[01:12:27] Nolan

[01:12:27] lied and

[01:12:28] people

[01:12:28] died.

[01:12:30] Causality

[01:12:30] is not

[01:12:30] You can

[01:12:31] look it up.

[01:12:31] There are

[01:12:32] people who

[01:12:32] died the

[01:12:33] day after

[01:12:33] Oppenheimer

[01:12:34] was released

[01:12:34] in theaters.

[01:12:35] It's just a

[01:12:36] fact.

[01:12:36] It's just a

[01:12:37] fact.

[01:12:37] It's just a

[01:12:37] fact.

[01:12:38] We're not

[01:12:38] drawing any

[01:12:39] connections.

[01:12:40] No,

[01:12:40] I'm just

[01:12:41] especially

[01:12:41] some of

[01:12:42] these like

[01:12:42] the ensuing

[01:12:43] shots where

[01:12:44] you're seeing

[01:12:45] just sort of

[01:12:45] like particle

[01:12:46] matter and

[01:12:47] things like

[01:12:47] that.

[01:12:48] I could

[01:12:48] imagine some

[01:12:49] of that being

[01:12:49] practical,

[01:12:49] but I also

[01:12:50] could believe

[01:12:50] it's digital.

[01:12:51] I don't know.

[01:12:52] I don't.

[01:12:53] Part of me

[01:12:53] doesn't ever

[01:12:54] want to know

[01:12:54] how they

[01:12:54] did it.

[01:12:55] I just

[01:12:55] when I

[01:12:56] look at

[01:12:56] that shot,

[01:12:57] I can't

[01:12:58] believe what

[01:12:58] I'm looking

[01:12:59] at.

[01:12:59] It's so

[01:13:01] hypnotic.

[01:13:02] It's always

[01:13:03] more.

[01:13:04] No matter

[01:13:04] how many times

[01:13:05] I watch that

[01:13:06] shot,

[01:13:06] it's always

[01:13:07] more impressive

[01:13:08] even than

[01:13:08] I remember

[01:13:09] it being.

[01:13:09] Each time

[01:13:10] I feel like

[01:13:10] I experience

[01:13:11] it anew,

[01:13:12] it is in

[01:13:14] a career

[01:13:15] full of

[01:13:18] really,

[01:13:19] really powerful

[01:13:20] imagery.

[01:13:21] I feel like

[01:13:22] the part of

[01:13:23] David Lynch

[01:13:23] that's like,

[01:13:24] I'm a painter,

[01:13:24] but I want

[01:13:25] to use cinema

[01:13:25] as my way

[01:13:26] of making

[01:13:27] these paintings.

[01:13:28] I feel like

[01:13:29] that shot

[01:13:29] is one of

[01:13:30] his just

[01:13:31] it's just

[01:13:32] such an

[01:13:34] unprecedented

[01:13:34] masterpiece

[01:13:35] in his

[01:13:36] body of work.

[01:13:37] Like this

[01:13:37] whole episode

[01:13:38] is like

[01:13:38] a greatest

[01:13:40] it is

[01:13:41] just like

[01:13:42] if you

[01:13:43] had

[01:13:43] watched

[01:13:44] the first

[01:13:44] seven

[01:13:44] episodes

[01:13:45] and thought

[01:13:45] some people

[01:13:46] were like

[01:13:46] they watched

[01:13:47] and they're

[01:13:47] like,

[01:13:47] it's not

[01:13:47] like the

[01:13:47] old Twin Peaks.

[01:13:49] It is

[01:13:49] CG.

[01:13:50] I'm looking

[01:13:51] right now

[01:13:51] at the

[01:13:52] visual effects

[01:13:53] house.

[01:13:53] BUF has

[01:13:54] a big

[01:13:54] page on

[01:13:55] all the

[01:13:55] work they

[01:13:56] did on

[01:13:56] this

[01:13:56] episode.

[01:13:57] You're

[01:13:58] right that

[01:13:58] it does

[01:13:58] look

[01:13:59] incredible.

[01:14:00] I also

[01:14:01] think

[01:14:07] it's

[01:14:08] that was

[01:14:09] visceral

[01:14:09] Connor

[01:14:09] whatever

[01:14:10] just happened

[01:14:11] to you.

[01:14:11] It's also

[01:14:12] funny to

[01:14:12] think of

[01:14:12] that

[01:14:12] shot

[01:14:13] and

[01:14:14] you

[01:14:15] haven't

[01:14:15] watched

[01:14:15] I assume

[01:14:16] any of

[01:14:16] the

[01:14:17] there's

[01:14:17] a

[01:14:17] really

[01:14:17] long

[01:14:18] behind

[01:14:18] the

[01:14:19] scenes

[01:14:20] documentary

[01:14:21] about

[01:14:21] the

[01:14:21] making

[01:14:22] of the

[01:14:22] return

[01:14:22] Griffin.

[01:14:23] I got

[01:14:23] the big

[01:14:24] box here.

[01:14:24] I will be

[01:14:25] watching it.

[01:14:25] I've been

[01:14:26] avoiding it

[01:14:26] because I

[01:14:26] don't want

[01:14:26] to get

[01:14:27] spoiled on

[01:14:28] things I

[01:14:28] haven't

[01:14:28] gotten to

[01:14:29] in the

[01:14:29] series.

[01:14:29] There's

[01:14:30] a sequence

[01:14:31] where he

[01:14:31] gets really

[01:14:31] mad and

[01:14:32] there's a lot

[01:14:34] of times

[01:14:34] where something

[01:14:35] will have to

[01:14:35] be made

[01:14:35] out of

[01:14:35] paper mache

[01:14:36] or something

[01:14:37] and Lynch

[01:14:38] will be

[01:14:38] just

[01:14:38] personally

[01:14:39] stirring

[01:14:39] something

[01:14:39] in a

[01:14:40] bucket

[01:14:40] and they

[01:14:41] have the

[01:14:41] wrong

[01:14:41] stuff for him

[01:14:42] and he's

[01:14:42] like god

[01:14:42] damn it

[01:14:43] he's so

[01:14:43] angry.

[01:14:44] That's

[01:14:45] the story

[01:14:45] of him

[01:14:46] being so

[01:14:46] frustrated

[01:14:47] that he

[01:14:47] wanted to

[01:14:48] do all

[01:14:49] the makeup

[01:14:49] for Elephant

[01:14:50] Man

[01:14:50] himself

[01:14:50] and they

[01:14:51] were like

[01:14:52] David

[01:14:52] this is

[01:14:52] a

[01:14:52] Paramount

[01:14:53] movie

[01:14:53] you can't

[01:14:54] be

[01:14:54] like

[01:14:54] in the

[01:14:55] makeup

[01:14:56] trailer

[01:14:57] applying

[01:14:58] shit

[01:14:58] to

[01:14:58] John

[01:14:59] Hurt

[01:14:59] for

[01:14:59] hours

[01:15:00] every

[01:15:00] day

[01:15:00] and he's

[01:15:00] like

[01:15:01] I

[01:15:01] can

[01:15:01] figure

[01:15:01] it

[01:15:02] out

[01:15:02] lots

[01:15:03] of

[01:15:03] imagery

[01:15:03] that

[01:15:04] is

[01:15:04] wonderful

[01:15:05] like

[01:15:05] inside

[01:15:06] the

[01:15:06] bomb

[01:15:08] sorry

[01:15:08] I just

[01:15:08] want to

[01:15:09] unpack

[01:15:09] this

[01:15:09] for a

[01:15:09] moment

[01:15:09] I

[01:15:27] happening

[01:15:27] when

[01:15:28] an

[01:15:28] atomic

[01:15:28] bomb

[01:15:28] goes

[01:15:29] off

[01:15:29] is

[01:15:29] so

[01:15:29] much

[01:15:30] more

[01:15:30] complicated

[01:15:30] and

[01:15:31] terrifying

[01:15:31] than

[01:15:32] any

[01:15:32] usual

[01:15:33] explosion

[01:15:33] right

[01:15:33] that

[01:15:34] is

[01:15:34] the

[01:15:35] underlying

[01:15:35] enormity

[01:15:36] of what

[01:15:36] this

[01:15:37] weapon

[01:15:37] was

[01:15:37] and why

[01:15:38] it

[01:15:38] was

[01:15:57] not

[01:15:57] for

[01:15:58] the

[01:15:58] explosion

[01:15:59] itself

[01:16:00] which

[01:16:00] is

[01:16:00] honestly

[01:16:01] just

[01:16:01] fine

[01:16:01] and

[01:16:02] he

[01:16:03] only

[01:16:03] uses

[01:16:03] it

[01:16:04] sparsely

[01:16:04] it's

[01:16:04] all

[01:16:04] about

[01:16:05] the

[01:16:05] build

[01:16:06] up

[01:16:06] and

[01:16:06] the

[01:16:06] characters

[01:16:07] and

[01:16:07] how

[01:16:07] tense

[01:16:08] they

[01:16:09] are

[01:16:09] about

[01:16:09] it

[01:16:10] and

[01:16:10] that's

[01:16:11] what's

[01:16:11] so

[01:16:11] cool

[01:16:12] about

[01:16:12] it

[01:16:12] and

[01:16:12] the

[01:16:12] way

[01:16:12] the

[01:16:12] flash

[01:16:13] is

[01:16:13] done

[01:16:13] is

[01:16:13] cool

[01:16:14] the

[01:16:14] fireball

[01:16:15] itself

[01:16:15] kind

[01:16:16] of

[01:16:16] looks

[01:16:16] just

[01:16:16] okay

[01:16:17] because

[01:16:18] Nolan

[01:16:18] was

[01:16:18] really

[01:16:19] trying

[01:16:19] to

[01:16:21] do

[01:16:21] it

[01:16:21] practically

[01:16:22] like

[01:16:22] Lynch

[01:16:23] who

[01:16:23] you

[01:16:26] don't

[01:16:55] picture

[01:16:57] when you

[01:16:57] like

[01:16:58] read

[01:16:58] the

[01:16:59] accounts

[01:16:59] of

[01:17:00] the

[01:17:01] folks

[01:17:01] who

[01:17:01] were

[01:17:01] working

[01:17:02] at

[01:17:02] Los

[01:17:02] Alamos

[01:17:02] they

[01:17:03] talk

[01:17:03] about

[01:17:03] it

[01:17:03] that

[01:17:03] way

[01:17:04] where

[01:17:04] they

[01:17:04] were

[01:17:04] just

[01:17:04] like

[01:17:05] it

[01:17:05] was

[01:17:05] incomprehensible

[01:17:06] what we

[01:17:06] were

[01:17:07] witnessing

[01:17:07] like

[01:17:07] colors

[01:17:08] you

[01:17:08] can't

[01:17:08] explain

[01:17:09] like

[01:17:09] time

[01:17:09] slowing

[01:17:10] down

[01:17:10] like

[01:17:11] you

[01:17:12] know

[01:17:12] it's

[01:17:12] it's

[01:17:12] what's

[01:17:13] horrifying

[01:17:13] about

[01:17:13] this

[01:17:14] existing

[01:17:15] as a

[01:17:15] technology

[01:17:16] I wonder

[01:17:16] how

[01:17:16] aware

[01:17:17] Lynch

[01:17:18] was

[01:17:18] of

[01:17:19] because

[01:17:19] I have

[01:17:20] to

[01:17:20] feel

[01:17:20] on some

[01:17:21] levels

[01:17:21] completely

[01:17:21] deliberate

[01:17:22] that in

[01:17:23] the first

[01:17:23] seven episodes

[01:17:24] of this

[01:17:24] some of

[01:17:25] the digital

[01:17:26] effects

[01:17:26] are so

[01:17:27] crude

[01:17:28] that they're

[01:17:29] just not

[01:17:29] even

[01:17:29] pretending

[01:17:30] they're

[01:17:30] anything

[01:17:30] other than

[01:17:31] computer

[01:17:31] effects

[01:17:32] it's

[01:17:33] just

[01:17:33] there's

[01:17:33] no

[01:17:34] pretense

[01:17:34] of it

[01:17:34] you're

[01:17:35] in the

[01:17:35] Black

[01:17:35] Lodge

[01:17:35] and

[01:17:36] it

[01:17:36] doesn't

[01:17:37] look

[01:17:37] like

[01:17:37] the

[01:17:37] Black

[01:17:37] Lodge

[01:17:38] from

[01:17:38] the

[01:17:38] ABC

[01:17:38] television

[01:17:39] version

[01:17:39] it's

[01:17:39] a

[01:17:40] different

[01:17:40] more

[01:17:41] digitally

[01:17:41] looking

[01:17:42] thing

[01:17:42] that

[01:17:43] in

[01:17:43] some

[01:17:44] ways

[01:17:44] it's

[01:17:44] setting

[01:17:44] you

[01:17:45] up

[01:17:45] that

[01:17:45] when

[01:17:46] this

[01:17:46] happens

[01:17:46] you

[01:17:47] won't

[01:17:48] your

[01:17:48] mind

[01:17:48] won't

[01:17:48] be able

[01:17:49] to

[01:17:49] process

[01:17:49] how

[01:17:50] good

[01:17:50] it

[01:17:50] looks

[01:17:50] that's

[01:17:51] happened

[01:17:51] to me

[01:17:51] yeah

[01:17:52] because

[01:17:52] I also

[01:17:52] like

[01:17:53] look

[01:17:53] I

[01:17:54] I

[01:17:54] didn't

[01:17:55] think

[01:17:55] he

[01:17:55] set

[01:17:56] off

[01:17:56] an

[01:17:56] actual

[01:17:56] atomic

[01:17:57] bomb

[01:17:57] for

[01:17:58] the

[01:17:58] sake

[01:17:58] of

[01:17:58] filming

[01:17:59] episode

[01:17:59] eight

[01:17:59] of

[01:17:59] his

[01:18:00] television

[01:18:00] show

[01:18:00] right

[01:18:01] he

[01:18:01] didn't

[01:18:01] do

[01:18:01] that

[01:18:01] but

[01:18:02] I

[01:18:02] was

[01:18:02] watching

[01:18:03] it

[01:18:03] because

[01:18:03] he's

[01:18:04] established

[01:18:04] the

[01:18:04] language

[01:18:05] of

[01:18:05] when

[01:18:05] there

[01:18:06] are

[01:18:06] effects

[01:18:06] they

[01:18:07] purposefully

[01:18:08] look

[01:18:08] very

[01:18:09] unnatural

[01:18:09] that

[01:18:10] to

[01:18:10] see

[01:18:10] the

[01:18:10] realism

[01:18:11] of

[01:18:11] this

[01:18:11] I

[01:18:11] was

[01:18:12] like

[01:18:12] was

[01:18:12] he

[01:18:12] compositing

[01:18:13] practical

[01:18:13] elements

[01:18:14] together

[01:18:14] did he

[01:18:15] film some

[01:18:16] weird

[01:18:16] faked

[01:18:17] version

[01:18:17] of

[01:18:17] explosion

[01:18:18] composite

[01:18:18] into

[01:18:18] a

[01:18:19] background

[01:18:19] to hear

[01:18:20] that

[01:18:20] it's

[01:18:20] all

[01:18:20] CG

[01:18:21] your

[01:18:21] brain

[01:18:21] does

[01:18:22] kind

[01:18:22] of

[01:18:22] I

[01:18:23] think

[01:18:23] what

[01:18:23] you're

[01:18:23] saying

[01:18:24] like

[01:18:24] it

[01:18:25] doesn't

[01:18:25] know

[01:18:25] how

[01:18:25] to

[01:18:25] process

[01:18:25] it

[01:18:26] what's

[01:18:26] the

[01:18:27] sound

[01:18:27] to

[01:18:27] that's

[01:18:27] being

[01:18:28] played

[01:18:28] oh

[01:18:28] it's

[01:18:29] just

[01:18:29] me

[01:18:29] going

[01:18:30] is

[01:18:30] that

[01:18:30] what

[01:18:31] it

[01:18:31] is

[01:18:31] there

[01:18:31] is

[01:18:31] a

[01:18:32] conflict

[01:18:33] of

[01:18:33] interest

[01:18:33] you

[01:18:34] didn't

[01:18:34] disclose

[01:18:34] that

[01:18:34] you

[01:18:35] worked

[01:18:35] on

[01:18:35] this

[01:18:35] episode

[01:18:36] going

[01:18:37] there's

[01:18:37] a

[01:18:37] piece

[01:18:37] of

[01:18:37] music

[01:18:38] playing

[01:18:38] during

[01:18:38] the

[01:18:39] test

[01:18:39] that

[01:18:40] is

[01:18:40] the

[01:18:41] I

[01:18:41] want

[01:18:41] to

[01:18:41] get

[01:18:42] this

[01:18:42] to

[01:18:43] the

[01:18:43] victims

[01:18:43] of

[01:18:43] Hiroshima

[01:18:44] which

[01:18:44] is

[01:18:44] a

[01:18:44] piece

[01:18:45] of

[01:18:45] classical

[01:18:45] music

[01:18:45] that

[01:18:46] was

[01:18:46] composed

[01:18:47] in

[01:18:48] reflection

[01:18:49] on

[01:18:49] the

[01:18:50] bombing

[01:18:50] of

[01:18:50] Hiroshima

[01:18:51] years

[01:18:52] later

[01:18:52] so

[01:18:52] that's

[01:18:52] obviously

[01:18:53] you know

[01:18:53] but then

[01:18:54] it's

[01:18:54] also

[01:18:54] you know

[01:18:54] crazy

[01:18:55] lynch

[01:18:55] sound

[01:18:55] effects

[01:18:55] are

[01:18:56] playing

[01:18:56] then

[01:18:56] we

[01:19:12] shit

[01:19:12] goes

[01:19:12] down

[01:19:13] in

[01:19:13] the

[01:19:13] arm

[01:19:13] or

[01:19:14] characters

[01:19:15] like

[01:19:15] that

[01:19:15] sort

[01:19:15] of

[01:19:15] shuttle

[01:19:15] between

[01:19:16] but you

[01:19:16] go to

[01:19:17] the

[01:19:17] convenience

[01:19:17] store

[01:19:18] for

[01:19:19] some

[01:19:19] sort

[01:19:19] of

[01:19:20] nasty

[01:19:20] stuff

[01:19:20] because

[01:19:21] when

[01:19:21] you

[01:19:21] see

[01:19:21] it

[01:19:21] in

[01:19:22] Fire

[01:19:23] Walk

[01:19:23] With

[01:19:23] Me

[01:19:23] it's

[01:19:23] also

[01:19:42] but it

[01:19:42] looked

[01:19:43] like

[01:19:43] you

[01:19:43] would

[01:19:43] be

[01:19:43] forgiven

[01:19:44] for

[01:19:44] not

[01:19:44] realizing

[01:19:45] that

[01:19:45] what

[01:19:45] we've

[01:19:45] seen

[01:19:46] before

[01:19:46] is

[01:19:46] that

[01:19:47] because

[01:19:47] we

[01:19:47] haven't

[01:19:48] seen

[01:19:48] the

[01:19:48] outside

[01:19:48] of

[01:19:48] the

[01:19:49] convenience

[01:19:49] store

[01:19:49] before

[01:19:49] it

[01:19:50] was

[01:19:50] in

[01:19:51] Fire

[01:19:51] with

[01:19:51] me

[01:19:52] when

[01:19:52] it's

[01:19:52] like

[01:19:52] a

[01:19:52] room

[01:19:53] full

[01:19:53] of

[01:19:53] Bob

[01:19:54] and

[01:19:54] the

[01:19:54] man

[01:19:55] from

[01:19:55] another

[01:19:55] place

[01:19:56] and

[01:19:57] that

[01:19:57] guy

[01:19:57] with

[01:19:57] the

[01:19:58] weird

[01:19:58] long

[01:19:59] nose

[01:20:00] that's

[01:20:01] upstairs

[01:20:01] of the

[01:20:01] convenience

[01:20:02] store

[01:20:02] which

[01:20:02] Mike

[01:20:03] the one

[01:20:03] our

[01:20:03] man

[01:20:03] used

[01:20:04] to

[01:20:04] talk

[01:20:04] about

[01:20:04] is

[01:20:04] upstairs

[01:20:05] I

[01:20:05] believe

[01:20:06] it

[01:20:06] was

[01:20:06] convenience

[01:20:07] store

[01:20:08] okay

[01:20:09] but

[01:20:09] when we

[01:20:10] see

[01:20:10] it

[01:20:10] here

[01:20:10] it's

[01:20:11] the

[01:20:11] awesome

[01:20:12] David

[01:20:12] Lynchy

[01:20:12] black

[01:20:13] and

[01:20:13] white

[01:20:13] like

[01:20:13] stutter

[01:20:14] step

[01:20:14] you know

[01:20:14] the

[01:20:15] woodsman

[01:20:15] going

[01:20:15] around

[01:20:16] like

[01:20:16] beetles

[01:20:16] but it's

[01:20:17] all

[01:20:17] like

[01:20:17] flashing

[01:20:19] goes

[01:20:19] on

[01:20:20] for

[01:20:20] a

[01:20:20] while

[01:20:22] and

[01:20:22] we

[01:20:23] have

[01:20:23] basically

[01:20:24] a

[01:20:24] period

[01:20:25] of

[01:20:25] this

[01:20:25] segment

[01:20:26] I

[01:20:26] can't

[01:20:27] can't

[01:20:27] keep

[01:20:27] I can

[01:20:28] never

[01:20:28] keep

[01:20:28] straight

[01:20:29] the

[01:20:29] order

[01:20:29] of

[01:20:29] some

[01:20:29] of

[01:20:30] these

[01:20:30] things

[01:20:30] I'm

[01:20:31] watching

[01:20:31] it

[01:20:31] going

[01:20:32] in

[01:20:33] sequence

[01:20:33] just

[01:20:33] to

[01:20:33] remember

[01:20:33] exactly

[01:20:34] this

[01:20:34] there

[01:20:34] is

[01:20:34] a

[01:20:35] sequence

[01:20:35] where

[01:20:35] essentially

[01:20:35] you're

[01:20:36] like

[01:20:36] oh

[01:20:36] we're

[01:20:36] watching

[01:20:37] something

[01:20:37] that

[01:20:37] is

[01:20:38] 2001

[01:20:39] a space

[01:20:39] odyssey

[01:20:40] for

[01:20:40] television

[01:20:41] I think

[01:20:41] that's

[01:20:41] exactly

[01:20:42] right

[01:20:42] you're

[01:20:42] watching

[01:20:42] an

[01:20:44] abstract

[01:20:44] depiction

[01:20:45] of

[01:20:45] the

[01:20:45] development

[01:20:47] of some

[01:20:48] new

[01:20:48] kind of

[01:20:49] malevolence

[01:20:49] right

[01:20:50] and these

[01:20:51] guys

[01:20:51] are

[01:20:52] these

[01:20:52] busy

[01:20:52] little

[01:20:52] evil

[01:20:53] worker

[01:20:53] bees

[01:20:54] around

[01:20:54] this

[01:20:54] kind

[01:20:55] of

[01:20:56] post

[01:20:56] war

[01:20:57] symbol

[01:20:57] the

[01:20:58] convenience

[01:20:58] it looks

[01:20:59] like

[01:20:59] an

[01:20:59] old

[01:20:59] gas

[01:21:00] station

[01:21:00] from

[01:21:00] the

[01:21:00] 50s

[01:21:01] kind

[01:21:01] of

[01:21:01] and

[01:21:01] it's

[01:21:01] just

[01:21:02] like

[01:21:02] right

[01:21:02] it's

[01:21:02] like

[01:21:02] that's

[01:21:03] that's

[01:21:03] how

[01:21:03] I'm

[01:21:03] taking

[01:21:04] all

[01:21:04] of

[01:21:04] this

[01:21:04] but

[01:21:04] let's

[01:21:05] also

[01:21:05] say

[01:21:05] like

[01:21:05] 2001

[01:21:06] it's

[01:21:06] coming

[01:21:06] after

[01:21:07] two

[01:21:07] hours

[01:21:08] of

[01:21:08] more

[01:21:08] conventional

[01:21:09] narrative

[01:21:09] storytelling

[01:21:10] in a

[01:21:10] movie

[01:21:11] more

[01:21:11] conventional

[01:21:12] right

[01:21:12] and then

[01:21:13] throughout

[01:21:13] that

[01:21:14] abstract

[01:21:15] expressionist

[01:21:16] sequence

[01:21:16] you're

[01:21:16] cutting

[01:21:17] back

[01:21:17] to

[01:21:17] cure

[01:21:17] delay

[01:21:18] like

[01:21:18] they

[01:21:19] are

[01:21:19] re-centering

[01:21:19] you

[01:21:20] in

[01:21:20] like

[01:21:20] this

[01:21:22] is

[01:21:23] been

[01:21:23] through

[01:21:23] his

[01:21:23] experiencing

[01:21:24] this

[01:21:24] has

[01:21:25] no

[01:21:25] grounding

[01:21:26] viewpoint

[01:21:27] in that

[01:21:27] way

[01:21:27] he's

[01:21:28] making

[01:21:29] you

[01:21:29] the

[01:21:29] audience

[01:21:30] member

[01:21:30] and

[01:21:31] no

[01:21:31] precedent

[01:21:31] in the

[01:21:32] series

[01:21:32] or world

[01:21:33] of

[01:21:33] Twin Peaks

[01:21:34] like

[01:21:34] we've

[01:21:34] seen

[01:21:34] Twin Peaks

[01:21:35] in multiple

[01:21:36] forms

[01:21:36] and this

[01:21:37] is the

[01:21:37] first time

[01:21:38] we've

[01:21:38] ever been

[01:21:38] just

[01:21:53] floating

[01:21:54] in space

[01:21:54] and

[01:21:55] makes

[01:21:56] this

[01:21:56] kind

[01:21:56] of

[01:21:56] weird

[01:21:56] chain

[01:21:57] of

[01:21:57] vomit

[01:21:57] and

[01:21:58] Bob's

[01:21:58] head

[01:21:59] emerges

[01:21:59] from

[01:22:00] that

[01:22:00] and it's

[01:22:00] another

[01:22:01] thing

[01:22:01] where

[01:22:01] if you

[01:22:02] I remember

[01:22:03] back

[01:22:03] to

[01:22:04] both

[01:22:05] moments

[01:22:05] when I

[01:22:06] was

[01:22:06] watching

[01:22:06] it

[01:22:06] for the

[01:22:06] first

[01:22:07] time

[01:22:07] tired

[01:22:07] in a

[01:22:08] hotel

[01:22:09] room

[01:22:09] with

[01:22:09] all

[01:22:10] the

[01:22:10] lights

[01:22:10] out

[01:22:10] just

[01:22:10] watching

[01:22:11] the

[01:22:11] screen

[01:22:12] that

[01:22:13] when

[01:22:13] you're

[01:22:14] seeing

[01:22:14] Bob

[01:22:14] you

[01:22:15] could

[01:22:16] easily

[01:22:16] miss

[01:22:17] what

[01:22:17] you're

[01:22:17] seeing

[01:22:17] it's

[01:22:18] not

[01:22:18] like

[01:22:18] it's

[01:22:19] it's

[01:22:20] subtle

[01:22:20] the way

[01:22:21] he does

[01:22:21] this

[01:22:21] it is

[01:22:22] you have

[01:22:22] to

[01:22:23] kind

[01:22:23] of

[01:22:23] focus

[01:22:23] on

[01:22:24] this

[01:22:24] this

[01:22:25] brief

[01:22:25] image

[01:22:26] that

[01:22:26] kind

[01:22:26] of

[01:22:26] swips

[01:22:27] you know

[01:22:27] swishes

[01:22:27] by you

[01:22:28] and then

[01:22:29] we see

[01:22:29] this sort

[01:22:30] of

[01:22:30] golden

[01:22:31] imagery

[01:22:32] and a

[01:22:32] golden

[01:22:33] blob

[01:22:33] maybe

[01:22:34] sort

[01:22:35] of a

[01:22:35] nicer

[01:22:36] vibe

[01:22:36] one might

[01:22:37] think

[01:22:37] again

[01:22:38] this is

[01:22:38] why

[01:22:38] I'm

[01:22:38] kind

[01:22:38] of

[01:22:38] like

[01:22:39] it's

[01:22:39] so

[01:22:39] funny

[01:22:40] that

[01:22:40] Twin Peaks

[01:22:40] can be

[01:22:41] thought

[01:22:41] about

[01:22:41] so

[01:22:42] deeply

[01:22:43] but then

[01:22:44] also

[01:22:45] David

[01:22:45] Lynch

[01:22:46] is

[01:22:46] like

[01:22:46] yeah

[01:22:46] there's

[01:22:47] the

[01:22:47] golden

[01:22:47] people

[01:22:48] that's

[01:22:48] the

[01:22:49] nice

[01:22:49] people

[01:22:50] good

[01:22:50] blob

[01:22:51] versus

[01:22:51] bad

[01:22:52] blob

[01:22:52] the

[01:22:53] angels

[01:22:54] are

[01:22:54] coming

[01:22:54] spray

[01:22:55] gath up

[01:22:56] with the

[01:22:56] gold

[01:22:56] hair

[01:22:57] spray

[01:22:57] paint

[01:22:58] and

[01:22:58] makeup

[01:22:58] for a

[01:22:59] golden

[01:23:00] gath

[01:23:00] I want

[01:23:01] a golden

[01:23:02] gath

[01:23:03] just so we

[01:23:05] have it

[01:23:05] and then

[01:23:07] we're on

[01:23:07] the purple

[01:23:08] sea

[01:23:08] which is

[01:23:09] this

[01:23:16] Cooper

[01:23:16] was

[01:23:16] kind

[01:23:17] of

[01:23:17] moving

[01:23:17] his

[01:23:17] way

[01:23:17] through

[01:23:18] you know

[01:23:19] from the

[01:23:19] black

[01:23:19] lodge

[01:23:19] he fell

[01:23:21] out of

[01:23:21] the

[01:23:21] black

[01:23:21] lodge

[01:23:22] landed

[01:23:22] in that

[01:23:22] little

[01:23:23] box

[01:23:24] in

[01:23:24] New York

[01:23:25] City

[01:23:25] so is it

[01:23:25] post the

[01:23:26] box

[01:23:26] post the

[01:23:27] box

[01:23:27] you know

[01:23:28] he goes

[01:23:28] and he

[01:23:29] tiny

[01:23:29] Cooper

[01:23:30] falls

[01:23:30] down

[01:23:30] a little

[01:23:31] thing

[01:23:31] and then

[01:23:31] he's

[01:23:31] in that

[01:23:31] little

[01:23:32] room

[01:23:32] where

[01:23:32] something

[01:23:32] is

[01:23:32] trying

[01:23:32] to

[01:23:32] get

[01:23:33] in

[01:23:33] and

[01:23:34] there's

[01:23:34] Briggs

[01:23:35] is

[01:23:35] floating

[01:23:35] head

[01:23:36] and all

[01:23:36] that

[01:23:46] is that

[01:23:46] Dune

[01:23:47] yeah

[01:23:47] it's

[01:23:48] Dune

[01:23:48] the worm

[01:23:49] floats by

[01:23:50] that's the

[01:23:51] planet

[01:23:51] Dune

[01:23:51] I just

[01:23:51] wasn't

[01:23:52] sure

[01:23:52] you know

[01:23:53] no

[01:23:53] great

[01:23:53] question

[01:23:54] Brady Jones

[01:23:55] is there

[01:23:55] good answer

[01:23:56] for you

[01:23:56] cat in a

[01:23:57] box

[01:23:57] and so

[01:23:59] there's

[01:23:59] this castle

[01:24:00] atop the

[01:24:00] purple sea

[01:24:01] and that's

[01:24:01] where

[01:24:02] the giant

[01:24:03] lives

[01:24:03] you're right

[01:24:04] I don't know

[01:24:05] how else

[01:24:05] to describe

[01:24:06] this

[01:24:06] there's a

[01:24:06] castle

[01:24:07] on the

[01:24:07] purple sea

[01:24:08] where the

[01:24:08] giant

[01:24:09] lives

[01:24:09] and there's

[01:24:10] also

[01:24:10] this woman

[01:24:12] Senorita

[01:24:12] Dido

[01:24:13] who we only

[01:24:14] see in

[01:24:14] this episode

[01:24:15] played by

[01:24:16] Joy

[01:24:16] Nash

[01:24:17] who's

[01:24:18] sitting

[01:24:18] there

[01:24:18] as well

[01:24:19] she's

[01:24:20] sitting

[01:24:20] on the

[01:24:20] couch

[01:24:20] they have

[01:24:21] a sofa

[01:24:21] in this

[01:24:23] castle

[01:24:24] it looks

[01:24:25] comfy

[01:24:25] it looks

[01:24:26] very cool

[01:24:26] it's so

[01:24:27] beautifully

[01:24:28] designed

[01:24:29] yes

[01:24:29] it has

[01:24:30] a 50s

[01:24:31] kind of

[01:24:32] aesthetic

[01:24:33] would we

[01:24:33] say

[01:24:33] or maybe

[01:24:34] even

[01:24:34] older

[01:24:35] aesthetic

[01:24:35] sort of

[01:24:36] this

[01:24:36] steam

[01:24:37] thing

[01:24:37] is going

[01:24:38] on too

[01:24:39] like

[01:24:39] there's

[01:24:39] a

[01:24:39] phonograph

[01:24:39] there's

[01:24:40] the

[01:24:40] big

[01:24:40] kettle

[01:24:41] thing

[01:24:41] there's

[01:24:42] a lot

[01:24:42] of

[01:24:43] clanking

[01:24:45] and the

[01:24:46] fireman

[01:24:47] or the

[01:24:47] giant

[01:24:48] or whatever

[01:24:48] you want

[01:24:49] to call

[01:24:49] him

[01:24:49] is there

[01:24:50] played by

[01:24:51] carols

[01:24:52] credited

[01:24:53] as

[01:24:53] him

[01:24:54] credited

[01:24:55] as a

[01:24:55] series

[01:24:56] of

[01:24:56] question

[01:24:56] marks

[01:24:57] credited

[01:24:57] as like

[01:24:57] eight

[01:24:58] question

[01:24:58] marks

[01:24:58] even

[01:24:59] even

[01:24:59] even

[01:25:00] david

[01:25:00] lynch

[01:25:00] and mark

[01:25:00] frost

[01:25:01] were like

[01:25:01] we don't

[01:25:01] know what

[01:25:02] the fuck

[01:25:02] this is

[01:25:04] um

[01:25:04] you've got

[01:25:05] me

[01:25:06] seems weird

[01:25:07] um

[01:25:08] we couldn't

[01:25:08] figure out

[01:25:09] what he

[01:25:09] was

[01:25:09] we know

[01:25:10] that they

[01:25:11] live in a

[01:25:11] castle

[01:25:12] on the

[01:25:12] purple

[01:25:13] sea

[01:25:13] we don't

[01:25:14] know who

[01:25:14] this guy

[01:25:15] is

[01:25:15] this fella

[01:25:16] wish he'd

[01:25:17] tell us

[01:25:17] his face

[01:25:19] it's so

[01:25:19] different

[01:25:20] from him

[01:25:21] in you know

[01:25:22] the tv show

[01:25:23] in the

[01:25:23] abc show

[01:25:24] like that he's

[01:25:25] so old

[01:25:26] and he's

[01:25:26] kind of drawn

[01:25:27] you're talking

[01:25:27] about carols

[01:25:28] he and

[01:25:29] mike i think

[01:25:31] both have

[01:25:31] that thing

[01:25:32] that you know

[01:25:34] there was

[01:25:34] every few

[01:25:35] years there'd

[01:25:35] be one of

[01:25:35] those apps

[01:25:36] that shows

[01:25:36] up that

[01:25:37] everyone starts

[01:25:37] having fun

[01:25:38] with where

[01:25:38] it's like

[01:25:38] oh

[01:25:38] you type in

[01:25:40] your email

[01:25:40] and it

[01:25:41] shows you

[01:25:41] what you

[01:25:41] look like

[01:25:42] in a

[01:25:42] painting

[01:25:42] right

[01:25:43] and

[01:25:43] type in

[01:25:44] your social

[01:25:44] security

[01:25:45] number

[01:25:45] right here

[01:25:45] by the way

[01:25:46] it's

[01:25:46] training

[01:25:47] ai

[01:25:47] it's

[01:25:47] fun for

[01:25:48] three days

[01:25:48] then someone's

[01:25:49] like don't

[01:25:49] do this

[01:25:50] they're scraping

[01:25:50] your account

[01:25:51] and using

[01:25:52] all this

[01:25:52] and i did

[01:25:53] one of those

[01:25:54] and i didn't

[01:25:55] post it

[01:25:56] i tried like

[01:25:57] five different

[01:25:57] paintings put

[01:25:58] me in a

[01:25:59] painting

[01:25:59] they all

[01:26:00] had my

[01:26:00] face basically

[01:26:01] do what

[01:26:02] happened to

[01:26:02] mike and

[01:26:04] the giant

[01:26:05] which is

[01:26:05] that something

[01:26:06] that sort of

[01:26:06] you get older

[01:26:07] and your face

[01:26:07] sort of like

[01:26:09] it no it

[01:26:10] kind of deteriorates

[01:26:11] in a way that

[01:26:11] makes me a little

[01:26:12] sad

[01:26:13] and so none

[01:26:14] of mine

[01:26:14] were postable

[01:26:15] because they

[01:26:15] were all

[01:26:15] kind of

[01:26:16] like oh

[01:26:16] no

[01:26:17] and it

[01:26:17] was consistent

[01:26:18] enough

[01:26:18] that i'm

[01:26:19] like they

[01:26:20] know something

[01:26:20] because everyone

[01:26:21] else was having

[01:26:22] fun looking

[01:26:22] paintings

[01:26:23] and my face

[01:26:24] just like

[01:26:24] caved

[01:26:25] yeah but

[01:26:25] connor that's

[01:26:26] unnecessary to

[01:26:27] use that

[01:26:28] program we

[01:26:28] all know if

[01:26:29] we want to

[01:26:29] see a picture

[01:26:29] of what

[01:26:30] you'll look

[01:26:30] like as an

[01:26:31] old man

[01:26:31] we can just

[01:26:32] pull up the

[01:26:32] weekend's dawn

[01:26:33] fm album

[01:26:34] cover that

[01:26:35] inexplicably

[01:26:36] looks identical

[01:26:37] to connor in

[01:26:38] now

[01:26:39] it looks like

[01:26:40] me now

[01:26:40] look i know

[01:26:41] i know

[01:26:41] it looks like

[01:26:42] me sprayed up

[01:26:42] as george lucas

[01:26:43] it looks like

[01:26:45] if you

[01:26:45] continued spraying

[01:26:46] up until you

[01:26:47] hit george's

[01:26:48] real age

[01:26:49] i don't think

[01:26:50] the weekend

[01:26:50] looks like you

[01:26:51] under any

[01:26:51] other circumstances

[01:26:54] i can see it

[01:26:55] that covers

[01:26:56] identical

[01:26:56] is it not

[01:26:57] these two

[01:26:58] characters

[01:26:59] essentially watch

[01:27:00] what we just