The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

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Jinnistan
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The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:08 am

Image


Snacks, socks and pissjars available in your kitchen (probably).
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:10 am

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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:12 am

This was the very first expose on the imminently endemic Hollywood Wackers.


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:14 am

Dabney Coleman - televangelist, and co-starring DOVE - Devo's Christian rock alter egos.


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:16 am

No good punk sons of bitches.


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:20 am

Intermission...


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:21 am

Who let crumbsroom in the booth?!?!?


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 9:12 am

My box office is a bag of nickles, you bastards.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Melvin Butterworth » Sat Jun 27, 2020 9:38 am

So, what's the theme here, J?
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sat Jun 27, 2020 1:02 pm

I remember sleeping over at a friend's house as a kid and all we did was watch PrayTV.

It was a shitty sleepover. Could have used a little Next of Kin
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 1:09 pm

Melvin Butterworth wrote:
Sat Jun 27, 2020 9:38 am
So, what's the theme here, J?
The screen is the theme.

And capitalism, so where's your ticket, Melba?
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by John Dumbear » Sat Jun 27, 2020 5:53 pm

Always thought they started these shows with a "Heckle & Jeckle" cartoon.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 9:29 pm

John Dumbear wrote:
Sat Jun 27, 2020 5:53 pm
Always thought they started these shows with a "Heckle & Jeckle" cartoon.
I guess Simon and Hecubus aren't good enough for you.

I try to do something nice for you people.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by replican » Sat Jun 27, 2020 11:07 pm

are dogs allowed?
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sat Jun 27, 2020 11:32 pm

replican wrote:
Sat Jun 27, 2020 11:07 pm
are dogs allowed?
Somebody let you in, didn't they?
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sat Jun 27, 2020 11:57 pm

What theater is playing Beyond Dreams Door?

One ticket for that.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Apex Predator » Sun Jun 28, 2020 1:23 am

Glory Glory is the definitive 1980s televangelist comedy film.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by replican » Sun Jun 28, 2020 2:55 am

Jinnistan wrote:
Sat Jun 27, 2020 11:32 pm
Somebody let you in, didn't they?
They couldn't keep me out of RT...this is a cakewalk
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jun 28, 2020 2:58 am

How this works is post youtube links to those movies.

Or don't in those cases, but find something.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jun 28, 2020 2:59 am

replican wrote:
Sun Jun 28, 2020 2:55 am
They couldn't keep me out of RT...this is a cakewalk
I don't have tits, dude. Sorry.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by The Nameless Two » Sun Jun 28, 2020 3:21 am

Jinnistan wrote:
Sun Jun 28, 2020 2:59 am
I don't have tits, dude. Sorry.
shits be concave
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Captain Terror » Sun Jun 28, 2020 3:37 am

Jinnistan wrote:
Sat Jun 27, 2020 9:29 pm
I try to do something nice for you people.
Are you the manager? The vending machine stole my quarter. :x
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jun 28, 2020 3:45 am

Captain Terror wrote:
Sun Jun 28, 2020 3:37 am
Are you the manager? The vending machine stole my quarter. :x
Yeah, it does that.

You're not bringing in your own beer? Urgh.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by replican » Sun Jun 28, 2020 4:59 am

I miss RT

This thread would have been poppin with hilarity. Not to mention the tags. O those tags.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Melvin Butterworth » Sun Jun 28, 2020 11:07 am

For your consideration....

Karen Black attempting to play more roles in the same film than Tyler Perry and a comically terrifying doll...

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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by John Dumbear » Sun Jun 28, 2020 3:14 pm

Ooh Karen, that wall-eyed vixen of the '70s.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Captain Terror » Sun Jun 28, 2020 11:27 pm





A cash prize for anyone that can last the entire 1:12.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jul 05, 2020 3:02 am

Didn't make it Cap'n.

I'm sure there's some decent enough looking films on youtube, but if that's not your speed, anyone can feel free to post their fave torrent links and such. I'm easy. Or even straight download, like, say, some rare Ken Russell, if that's your thing. I'm just trying to save you guys some money.


As for now, you might as well catch the Twin Peaks exegesis that's hot right now. Much better than your average fan-pondering video essay, in fact it's rather brilliant, and worth skipping a couple of other films to watch (presuming, of course, you've already seen the relevant material).

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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Macrology » Sun Jul 05, 2020 3:38 am

Okay I might actually watch this whole damn Twin Peaks video but hearing him imitate Lynch's voice every time he quotes him is extremely disconcerting.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jul 05, 2020 5:29 am

Macrology wrote:
Sun Jul 05, 2020 3:38 am
hearing him imitate Lynch's voice every time he quotes him is extremely disconcerting.
I'm just happy that he's not on his bedroom cam.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sun Jul 05, 2020 4:30 pm

I was actually going to link to this Twin Peaks video today.

I'm only about halfway through, and even someone who is naturally resistant to having more abstract works grounded in a definite purpose (I prefer the notion of Lynch, while operating from some general guiding principals, goes mostly on instinct) it's hard to deny even the stretchiest of claims in this video. I have no idea how someone can break anything as seemingly dense as Twin Peaks down like this. The work put into this is monumental.

Also interesting, is how almost hilariously literal many of Lynch's symbols are. As obscure as his style can be, he really seems to be clear with so many of his intentions once you are shown the 'light'.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sun Jul 05, 2020 6:49 pm

crumbsroom wrote:
Sun Jul 05, 2020 4:30 pm
I was actually going to link to this Twin Peaks video today.

I'm only about halfway through, and even someone who is naturally resistant to having more abstract works grounded in a definite purpose (I prefer the notion of Lynch, while operating from some general guiding principals, goes mostly on instinct) it's hard to deny even the stretchiest of claims in this video. I have no idea how someone can break anything as seemingly dense as Twin Peaks down like this. The work put into this is monumental.

Also interesting, is how almost hilariously literal many of Lynch's symbols are. As obscure as his style can be, he really seems to be clear with so many of his intentions once you are shown the 'light'.
Everyone really should watch it who cares about Twin Peaks.

It is probably best suited for those that were let down by The Return. For a couple of good reasons.

The show is ever more brilliant and so much sadder than I initially thought.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sun Jul 05, 2020 8:17 pm

But, regardless of the need of TP explanations, and how they are worth crying over, let's not pretend this isn't the most important thing to contend with.



Every thread will eventually be hijacked with my need to schill this garbage.

Someone has to eat it eventually.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jul 05, 2020 9:18 pm

Coul it possibly be worse than Deadtime Stories?
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Sun Jul 05, 2020 9:21 pm

Jinnistan wrote:
Sun Jul 05, 2020 9:18 pm
Coul it possibly be worse than Deadtime Stories?
It's one of the greatest movies ever, so no.

I haven't even seen Deadtime Stories. But I used to have the poster on my bedroom wall as a kid. That seemed enough of a commitment.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Sun Jul 05, 2020 9:30 pm

crumbsroom wrote:
Sun Jul 05, 2020 4:30 pm
Also interesting, is how almost hilariously literal many of Lynch's symbols are. As obscure as his style can be, he really seems to be clear with so many of his intentions once you are shown the 'light'.
But doesn't it seem all the more subversive how such literal symbolism eluded so many viewers? Whites of the eyes, my friend.

I was familiar with a lot of the meta-fiction interpretations of the original series - the sawing of logs, for instance - and the McLuhan-esque idea of media, and TV in particular, as the collective dream of society. But I haven't spent as much time in the online TP communities dissecting The Return, so this is where I found the most bounty from the video. I'll fly in some of my thoughts from elsewhere....
The "Jiao Dai" part knocked my socks off. I always considered Return to be Lynch's revenge on television audiences, but making the resolution of the show into the enemy of the show is some mobius-level brilliance.

I think that it touches on social and cultural trends well beyond television and applies to larger consumerist instincts and how people are habituated towards passive gratifications. Pavlovian beats of violent stimulation in our living rooms are definitely a primary part of that pattern, but we can see the black fire manifesting in a lot of aberrant social behavior, especially at the moment.

I also like the contrast between 1990 audiences and 2017 audiences. There's still no shortage of consumable violence in our so-called golden age of television. Post-war society was being infected and enticed by the black fire; post-millennial society has submitted to it.

It's important to define "the audience" here. I mean it in a more general sense of "mainstream audience expectations" which Lynch is clearly trying to frustrate. I don't mean those dedicated fans who have been willing to pay attention, but those who feel that they shouldn't have to. The same audience ("Diane", Nadine) who took the show away from Lynch because of their preconceived demands ("Jiao Dai" in the meaning of "to hand over"). The bait in Return is that there would be some kind of resolution, clarification, revelation to this whole Twin Peak mystery, and "Judy" is the spectre of this expectation. This is the audience, largely the same audience that demanded Laura's killer revealed, on which Lynch is enacting revenge, as opposed to the audience of David Lynch fans who already assumed he would never pull back the curtain completely.

I like how it uses the nostalgic pretense to accentuate the sense of displacement, which is also a post-millennial zeitgeist for "TV generation" Boomers at the moment. (I wonder how much of Mandela Effect is based on this?)

I also like the sense of displacement relative to dream dissonance. The last scene especially reminds me of this, that mix of familiar and strange that's almost taken for granted, walking around in houses and streets that seem familiar but turn out to be completely foreign. But mostly the distortion of time. I sometimes still have dreams of being in high school, not knowing why but knowing that time has passed since I was last there. As I start to wake, I might start to realize something's not right. Am I supposed to be in high school? "What year is it?" And the dream collapses and is extinguished.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by crumbsroom » Wed Jul 08, 2020 3:18 pm

Jinnistan wrote:
Sun Jul 05, 2020 9:30 pm
But doesn't it seem all the more subversive how such literal symbolism eluded so many viewers? Whites of the eyes, my friend.

I was familiar with a lot of the meta-fiction interpretations of the original series - the sawing of logs, for instance - and the McLuhan-esque idea of media, and TV in particular, as the collective dream of society. But I haven't spent as much time in the online TP communities dissecting The Return, so this is where I found the most bounty from the video. I'll fly in some of my thoughts from elsewhere....
The "Jiao Dai" part knocked my socks off. I always considered Return to be Lynch's revenge on television audiences, but making the resolution of the show into the enemy of the show is some mobius-level brilliance.

I think that it touches on social and cultural trends well beyond television and applies to larger consumerist instincts and how people are habituated towards passive gratifications. Pavlovian beats of violent stimulation in our living rooms are definitely a primary part of that pattern, but we can see the black fire manifesting in a lot of aberrant social behavior, especially at the moment.

I also like the contrast between 1990 audiences and 2017 audiences. There's still no shortage of consumable violence in our so-called golden age of television. Post-war society was being infected and enticed by the black fire; post-millennial society has submitted to it.

It's important to define "the audience" here. I mean it in a more general sense of "mainstream audience expectations" which Lynch is clearly trying to frustrate. I don't mean those dedicated fans who have been willing to pay attention, but those who feel that they shouldn't have to. The same audience ("Diane", Nadine) who took the show away from Lynch because of their preconceived demands ("Jiao Dai" in the meaning of "to hand over"). The bait in Return is that there would be some kind of resolution, clarification, revelation to this whole Twin Peak mystery, and "Judy" is the spectre of this expectation. This is the audience, largely the same audience that demanded Laura's killer revealed, on which Lynch is enacting revenge, as opposed to the audience of David Lynch fans who already assumed he would never pull back the curtain completely.

I like how it uses the nostalgic pretense to accentuate the sense of displacement, which is also a post-millennial zeitgeist for "TV generation" Boomers at the moment. (I wonder how much of Mandela Effect is based on this?)

I also like the sense of displacement relative to dream dissonance. The last scene especially reminds me of this, that mix of familiar and strange that's almost taken for granted, walking around in houses and streets that seem familiar but turn out to be completely foreign. But mostly the distortion of time. I sometimes still have dreams of being in high school, not knowing why but knowing that time has passed since I was last there. As I start to wake, I might start to realize something's not right. Am I supposed to be in high school? "What year is it?" And the dream collapses and is extinguished.

It certainly eluded me too, but I'm a bonafide dummy when it comes to those sorts of things. While I can intuit the general idea and emotional location that an artist is aiming for, breaking down the codes and symbols is simply not my thing. And I honestly don't know if I don't want to do it or simply can't. But I do like giving space for the theories of others, as long as they aren't too painful and laboured to listen to (which is so often the case, even when they are well considered). Usually, attempts to do this with Lynch though, will drive me battier than most. I don't like the idea of reducing him to specific motivations. But I was pleased when nearly everything about this particular theory works for me. Not only does it get me giddy in how it thumbs its nose at a segment of his die hard audience, but the fact that it also deepens the emotional impact and terror of the work is kinda astonishing. And, yes, the beligerent literalism of much of it is an extra layer of burn.

Now in regards to some of those die hard fans who were frustrated with The Return, I can legitimately sympathize with them, up to a point. If you aren't into Lynch, and you aren't about to find great worth in all of his meta commenting, there was almost a cruelty in how much promise Twin Peaks still may have teased a certain kind of fan. There is a bit of brattiness about Lynch's disdain for those who fell in thrall of these more basic delights. Characters like Audrey Horn and Dale Cooper, mysteries like who killed Laura Palmer, were too well realized to expect some not to get hooked on them. And while they may have ultimately been a trap for Lynch, and I also sympathize with the trap he put himself in by making them all too consumable for an audience, I get why some are really put off with his hostility towards those who hoped for something a little more direct. These sympathies do not extend towards the producers and networks though, and they deserve all of the bile they get for forcing Lynch's hands during the original show. But for fans, like my ex who claims she can never forgive Lynch for what he did to her beloved Audrey Horne, I do get it, even if I think her ultimate fate is much more haunting than anything a traditional character arc could ever reward. Being a childhood fan of the show, she felt as if she was taken hostage by the third season, not at all on board with what Lynch was doing, but forced to watch out of a sense of obligation to these characters he was so cruelly mistreating.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Macrology » Wed Jul 08, 2020 8:59 pm

Finally finished the video, and my feelings are on a pretty similar wavelength to both of yours. The video is insanely well thought out and produced, and its reading is extremely persuasive. Even when I thought that their interpretations were getting tenuous (like some of the extrapolations around the owl ring, the bit about telephone poles), they provide so much convincing evidence that I'm left to think that the tenuousness isn't in the interpretation, but in the symbolism Lynch chose. Whether that's actually the case is another matter entirely, but it says a lot for the amount of research and thought that went into their deconstruction.
The symbols do get almost comically literal according to this reading, but that's not something I really mind all that much, and I've read things that suggest he's used similarly direct symbolism in other films - namely Eraserhead. I believe I've mentioned this somewhere on this forum before, but years ago I read an interpretation of Eraserhead that was about as lucid and illuminating as this video. I don't recall all of the particulars, but I remember that the radiator represents the possibility of suicide, the lady in the radiator represents death itself ("In Heaven everything is fine"), and the man in the planet represents God or fate. The baby-creature could represent an actual child and the parental anxiety that comes with it, but it could also represent any major mistake or incident you can't extricate yourself from. It's all very straightforward - on paper.
But it's not on paper, and as they note in the video, Lynch doesn't say these things plainly. In my mind, Lynch's literal (if esoteric) symbols are really just a framework upon which his very visceral art is built. In other words:
The point isn't merely that television rots your mind - it's to deliver that message in a manner so jarring and uncanny that it leaves a unique and indelible impression. This can be said of any of his films, but it's clearly true of these works like Twin Peaks and Eraserhead that can be interpreted in direct and literal ways. When I saw a theatrical screening of Eraserhead, I brought along a friend who hadn't seen it before (but was a fan of Twin Peaks, which she was currently watching for the first time), and she was unnerved and affected on some very fundamental level, like a minor trauma. She didn't dislike the film, but she was profoundly upset by it.
What I'm getting at - and this really goes without saying, but I think it's important to stress it after you hear an explanation this satisfying - is that Lynch's work cannot be reduced to a network of symbols. There's something altogether primordial about his art, something deeply embedded in instinct and dream and the subconscious. You can read an article that says someone was raped and murdered, but that only conveys the fact of it; Lynch strives to approximate the experience, or at least embody the shock waves that emanate from such an unimaginable experience - an experience so unimaginable that even the victim can never reckon with it. (I also think it's important to make this distinction out loud because its prevents us from taking this video - or any interpretation - as more closure, as another Judy.)
Which boils down to what I've always considered the essential subject of Twin Peaks ever since I watched Fire Walk With Me (and which The Return only reinforced): the irrevocable impact of trauma. Solving a murder doesn't alleviate or mitigate that impact, and thinking that it can is irrational, an irrationality embodied in the plodding absurdity of the second season and the dissonance so intrinsic to the third season. My only substantial criticism of this video is that it puts too much emphasis on the metafictional elements and the importance of television as a conduit for complacency and evil; those ideas are obviously very central (especially to The Return), but it overlooks how Laura Palmer is also meant to represent actual murders, actual trauma, and how the methods of television devalue and reduce those phenomena. I agree with Jinn's point about consumerist instincts and passive gratifications, because it gets at the show's broader implications: about real violence and the reciprocal relationship it often has with screen violence (both in news media reporting real violence, TV shows depicting fictional violence, and actual crimes imitating both). That's partly what makes this reading so rewarding, because it draws attention to the injustice of revealing the killer. Lynch wanted Twin Peaks to be an antidote to rote TV violence by dwelling on the mystery of violence and its repercussions, by regarding the nuanced struggle of good and evil in a plausible, complex community rather than doling out programmatic whodunits. That makes the show's later iterations vicious, unrelenting attacks on the sort of complacency that would prefer a show that reduces its characters to plot puppets to a show that earnestly tries to contend with the realities of trauma. (It also makes The Return a rich reward for those willing to go the distance and profound punishment for those too passive to try, which is a beautiful coup. I've gotta say, it's a shame the original run was compromised by the petty demands of the audience and the studio, but that incident led to such remarkable places I almost have to celebrate it.)

I'll probably watch the followup videos sometime soon. After 4 1/2 hours I guess I'm committed.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Fri Jul 10, 2020 3:36 am

crumbsroom wrote:
Wed Jul 08, 2020 3:18 pm
these characters he was so cruelly mistreating.
I still think that Lynch took great delight in watching Michael Cera squirm under his awful Marlon Bando nonpression. You can almost see Cera quietly begging for a "cut!", and agonizing over the endless seconds.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Fri Jul 10, 2020 4:25 am

Macrology wrote:
Wed Jul 08, 2020 8:59 pm
I thought that their interpretations were getting tenuous (like some of the extrapolations around the owl ring, the bit about telephone poles)
I was a little surprised that the video didn't mention that wall sockets kind of look like owl faces, but that may just be my own hallucination.


Macrology wrote:
Wed Jul 08, 2020 8:59 pm
But it's not on paper, and as they note in the video, Lynch doesn't say these things plainly. In my mind, Lynch's literal (if esoteric) symbols are really just a framework upon which his very visceral art is built. In other words:
The point isn't merely that television rots your mind - it's to deliver that message in a manner so jarring and uncanny that it leaves a unique and indelible impression. This can be said of any of his films, but it's clearly true of these works like Twin Peaks and Eraserhead that can be interpreted in direct and literal ways. When I saw a theatrical screening of Eraserhead, I brought along a friend who hadn't seen it before (but was a fan of Twin Peaks, which she was currently watching for the first time), and she was unnerved and affected on some very fundamental level, like a minor trauma. She didn't dislike the film, but she was profoundly upset by it.
What I'm getting at - and this really goes without saying, but I think it's important to stress it after you hear an explanation this satisfying - is that Lynch's work cannot be reduced to a network of symbols. There's something altogether primordial about his art, something deeply embedded in instinct and dream and the subconscious.
I also don't really have any issue with how literal Lynch's symbolism is because it's such strong execution. Lynch is such a richly sensuous filmmaker, visually and sonically and in his hypnotic, magnetic pace that submerses you like warm saltwater, and this evocative allure taps almost directly into these primordial psychic elements. The dream-like feel is a huge advantage in rendering his symbolism intuitive and effective. I think this may also be why his symbols, regardless of obviousness, seep beneath the surface of our attention. When analyzing one's own dreams, the symbolism also has a tendency to be as embarrassingly obvious on reflection as it is elusive to our waking awareness.

To make a comparison of slightly adjacent subject matter, something like Natural Born Killers (which I appeciate more than some others) also tackles these issues of how media (commercial TV, specifically) mythologizes and exploits violence into a self-fulfilling feedback loop of titilation and consumption, but Stone doesn't have a gram of Lynch's sensuality or psychological control, so it invariably ends up as more of a hyperactive cartoon that is only superficially unsettling and desperately, insecurely psychedelic as a short-cut into the subliminal.


Macrology wrote:
Wed Jul 08, 2020 8:59 pm
the irrevocable impact of trauma
I think this is the primary theme in Lynch's work, but especially his run of dissociative-consciousness thrillers - Blue Velvet, Wild At Heart, Fire Walk With Me, Lost Highway, Mulholland Dr, and Inland Empire - and very much at the heart of his Twin Peaks work. One of the joys of watching this video is that I've spent an inordinate amount of moments this week unraveling all of Lynch's other films and finding consistent threads of themes and thought. Twin Perfect could make weeks of video unlocking these films in a similar manner.


Macrology wrote:
Wed Jul 08, 2020 8:59 pm
(I also think it's important to make this distinction out loud because its prevents us from taking this video - or any interpretation - as more closure, as another Judy.)
It's helpful that the video's ultimate conclusion is that Twin Peaks can't be definitively interpreted.
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Jinnistan
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Fri Jul 10, 2020 4:32 am

Jinnistan wrote:
Fri Jul 10, 2020 4:25 am
I was a little surprised that the video didn't mention that wall sockets kind of look like owl faces, but that may just be my own hallucination.
This might be more true of the old school type that I had in my bedroom as a child.


Image
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Jinnistan
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Tue Jul 28, 2020 7:54 pm

Now I got my mouth all watered for Zeman.










(The original version looks a bit better but without subs.)
Melvin Butterworth
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Melvin Butterworth » Tue Jul 28, 2020 8:14 pm

The weird flat SFX/props in Verne 1958 are great.

Someone should bring this back for some surrealist film.
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Jinnistan
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Tue Jul 28, 2020 9:09 pm

Calm yourself, kitties! Let me take off my shoes first.

What can I rummage? I've posted all of these before in various places, but might as well put them all here for convenience. Plenty of assorted surreal, czech, animated, and god knows.









(no subs but you'll manage)













That should hold you till dinner.
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Jinnistan
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Tue Jul 28, 2020 9:13 pm

Have to sign in for this one. Sorry, Popcorn.


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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Popcorn Reviews » Tue Jul 28, 2020 10:28 pm

Jinnistan wrote:
Tue Jul 28, 2020 9:13 pm
Have to sign in for this one. Sorry, Popcorn.


But I'm not even the youngest member of this server anymore though :shifty:
I turn 21 next month lol
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Jinnistan
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Jinnistan » Tue Jul 28, 2020 10:31 pm

Well, I better not catch you drinking anything stronger than beer, young man.

Trigger Warning though: It's got dead man dick.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Popcorn Reviews » Tue Jul 28, 2020 10:36 pm

You mean I can't do the 21 shots challenge?
joke btw
I've already seen Begotten, and I thought it was good. I loved the opening scene in particular. Also, Angel's Egg is great.
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Rock » Thu Jul 30, 2020 4:35 am

"We're outgunned and undermanned. But you know somethin'? We're gonna win. You know why? Superior attitude. Superior state of mind." - Mason Storm
____
Blog!
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Re: The Grand Corrierino Sauceshack Cheap Date Youtube Theatre

Post by Melvin Butterworth » Thu Jul 30, 2020 2:50 pm

Boxer's Omen?

Wow, this looks awesome. The only thing missing is Jack Burton.
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