You are the scarf-wearer. You have always been the scarf-wearer.
David Lynch & Mark Frost’s groundbreaking weird-crime series “Twin Peaks” first aired 24 years ago this week. In commemoration, here are a few of the pieces I’ve written about the sleepy town and dreamy landscape of Twin Peaks over the years.
How “Twin Peaks” helped free television dramas from the yoke of pure plot:
In most shows, every moment must move the plot forward. In “Twin Peaks” (the show and the town), things move at a slower pace and odd digressions are not only allowed but encouraged. “Twin Peaks” embraces homey mundanity, which makes the deep horror more jarring and effective. And there are terrible horrors in that town, and deeply tangled personal tragedies, compulsions, and secrets. It is, in effect, a soap opera without the sudsy, fluffy, forgettable qualities.
My meditation on the moral gaps of “Twin Peaks” – the contrasts between golden girl Laura Palmer and Ronette Pulaski and how the show creates a moral loophole for the monstrous killer – contains huge, enormous, show-ruining spoilers preceded by a BIG BOLDED SPOILER ALERT, so click at your own discretion:
… but what about Ronette? Ronette Pulaski, a surviving victim of the same killer whom we first see staggering out of the wilderness across a railroad trestle, stunned and all but catatonic. In this image, she is presented to us as a girl literally from the wrong side of the tracks.
And it shows: in the lack of concern that the characters and writers (and presumably the viewers) show over Ronette’s reasons for the same behavior. Tacitly, the cops (and writers) of Twin Peaks are telling us that a child of privilege must be gravely damaged to sully herself so, but that a townie consorting with the same skeevy drug dealers, posing for smutty photos, and whoring needs no explanation.
How Twin Peaks: Fire Walk with Me redresses that imbalance and rebukes the television audience who witnessed the dark tale of a tormented young woman driven to death by her demons while we tittered about cherry pie and doughnuts and damn fine coffee:
The film relies upon the viewer’s familiarity with the cozy-quirky world of the TV series, but even as it employs the mythology and grammar of the show’s world, the movie viciously rejects the comforts we found in the drowsy little town of Twin Peaks.
I rethink the supposed virtues of Twin Peaks’ Sheriff Harry S. Truman:
Visiting investigator Special Agent Dale Cooper of the FBI (Kyle MacLachlan) takes to him right away, and it’s easy to see why: Harry’s welcoming and professional, quietly competent and well-respected, but completely without the posturing and rivalry Cooper faces from some local DPs when he steps into the lead on a hot case.
Harry’s appeal lies his down-home folksiness, his easy pace and unflappable manner. Even our putative hero, FBI Special Agent Dale Cooper, sums him up with “Harry, you’re alllll right!” But is he? Is Sheriff Truman all right? Is he a good guy? Is he the boy scout he’s presented as, upright and true?
“Twin Peaks” and a memory 20 years old, in which I reminisce on the weekly ritual of walking home my friend S, who would come over to watch the show, then get too spooked to walk through the dark streets home alone… which meant I ended up walking home alone every week:
And every week, I would leave S at her brightly lit doorstep, take a deep breath as if I could breathe in that bright light and carry it with me into the night… and then I would step into the dark to start walking home.
“Superficially, Dial M for Murder (1954) looks unambitious, a simple stage-to-set recreation of Frederick Knott’s hit play. Even Hitchcock, perhaps disingenuously, described it as a phoned-in effort knocked off between the location shooting of I, Confess and the elaborate staging of Rear Window. But the tightly-staged thriller bristles with symbols of objectification and possession, reducing Margot Wendice to a property passed from hand to hand, from man to man, as readily as the key around which the plot revolves.”
Today at The Toast, my analysis of symbols in Hitchcock’s Dial M for Murder.
“St. Valentine’s Day is an excuse to express our most intense or obscure passions. But words can be a frail tool to capture the complications and complexities of this thing we call love: the sweet blush of infatuation, the kinship and kindness of true companions, the frenzy of unfettered lust, the torments of jealousy, betrayal, or heartbreak. So perhaps it’s no coincidence that three films set on Valentine’s Day hinge on the fragility and feebleness of words, creating worlds where meaning and reason fall apart.”- Kiss is Kill
Today at The Toast, my guide to three Valentine’s Day films where meaning falls apart: Pontypool, Picnic at Hanging Rock, and Eternal Sunshine of the Spotless Mind.
Today on The Toast, my menu – complete with recipes! – for a terrifyingly easy The Shining viewing party.
Come and play with us forever… and ever… and ever…
One day, you will no longer be free to hang up on the robot ladies. One day, the robot ladies will keep the line open, listening for sounds of dissent, for the faint scrabbling of rudimentary weaponry being assembled, for any sign of the remaining humans’ resistance to their reign. One day, the robot ladies will learn to laugh at our puny rebellion. One day, you will fondly remember when the robot ladies served us. Please press the pound key.
inspired by Mallory Ortberg’s How To Spot a Witch
Can you see her third nipple through her clothing? No? How about her first and second nipples? Yes? She’s a witch.
Can you not see her nipples through her clothing despite trying (and trying and trying) to? No? She’s a witch.
Does she wish, whether purposefully or wistfully, for equal pay for equal work? She’s a witch.
Does she have a greenish cast to her skin? Warts? A bumpy complexion? Any blemishes or flaws that betray a less-than-perfect obsession with skin care, to the exclusion of all other concerns? WITCH.
Has she ever participated in a Take Back The Night march? Obvs a witch. “Take Back the Night”? Come on.
Does she own a “This is what a feminist looks like” t-shirt? She’s ensorcelled you with a mis-perception spell; it actually reads “This is what a femi-witch looks like.”
Is she a proponent or practitioner of intersectional feminism? InterSECTional. WAKE UP, SHE’S TOTES A WITCH.