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Twin Peaks: Part 9 (2017)
The third season of Twin Peaks maintains a pitch perfect tone. The odd, off-sitcom-like (purposely out of timing) comedic moments are beyond great. The surreal, dream-like atmosphere casts a shadow over the story. The alien darkness that lurks underneath the beautiful nature and overall façade of the small city and its inhabitants exists in full form and force now (as it should've been from the start of the show itself). The drugs and the violence and the craziness still loom over. My only grievance is: no Audrey Horne. The suspense is killing me.
The Ninth Part is like the ones that preceded it: awe inspiring beautiful, but leave you wanting more, much, much more; wishing that a dreamy indie song (viewers should pay attention to the end songs) don't start for you not realize that the hour is gone and you have to wake from the magic experience. And so we have more little pieces of the big puzzle. Some characters know this and others know that and we have it all, this simple literary device of storytelling is used to amazing effect, it heightens the suspense and introduces a somewhat straightforward genre style on a very complex and dense (to some too much so) narrative.
The conflict between Cooper and his doppelganger is drawing near. Also, this episode raises a very important question: what Diane thinks she's doing?
Twin Peaks: Part 8 (2017)
An origin episode. (This is not a review). I cannot believe that I was the only Twin Peaks fan (and an admirer of David Lynch's work in general) that was expecting an episode like Part 8. Yet, people complain: "this is not art", "this is crazy", "is not Twin Peaks", etc.. Was it courageous of Lynch to make an episode such as this? I don't think so. Was natural. A natural evolution of the narrative style and story (back story) presentation in the voice and vision of Lynch. Yet, people complain. Apparently art must be stagnant, fixed in the status quo in which most are comfortable, mindlessly regurgitating the same again and again.
Personally, so far, I have only one complain. Audrey Horne. Where is she? Apart from that I can humbly admire and acknowledge the greatness of a show different from everything I've ever seen and, perhaps, will see on TV, and that actually (in my opinion) exists in the same realm of the so-called "high art film".
Are people unable to even read images in our Age? Must every little detail be explained in plain words so most can follow? What's happening to us? Interpret, challenge one's mind, create lines of thought from the information seen. Is thinking reaching its demise? It's all in the images. Almost spelled out. It's all in the images. Attention is required. Make an effort. Or should Lynch have left things in statu quo ante for your amusement?
Let me be frank, reviews are useless; telling, describing certain scenes and write this and that about plot or lack of it or about character development and yada yada yada: useless. One more thing: Carrie Coon is just too beautiful (in the very root sense of the word), she's like a walking painting. Now, Fargo, how this show even exists? It puzzles me. It uses the very system that despises art and critical thinking to do exactly that, albeit via comedy and images of violence (which is one of the languages of our violent hedonistic era). It have anarchist-socialist themes, radical feminist themes, justice themes, religious themes, etc.. There's evil in the world; there's evil within us; there's justice; there's accountability for one's choices; there's punishment. Cormac McCarthy, the American author, writes about all this, always, though his last screenplay and the film that resulted from it is ignored by most critics and film-goers alike. The third season of Fargo actually makes some references to Cormac McCarthy's oeuvre. This show have more artistic density and relevance than The Sopranos and The Wire put together (perhaps rivaled by Six Feet Under), and certainly a deeper understanding of humanity and its condition than the more insular American and British shows and literature in general, including the afore mentioned The Wire (though Mad Men and Six Feet Under may be so as well). All of which make me ask again, how this shows exists? If wasn't for its joke and violent sides it probably wouldn't be produce. Would be a play released in book format by some independent printing house that nobody would read (we already read so little outside the mainstream).
Technology advances. Human morality not so much. Apart form some social-civil advances that took decades to achieve and when got are quickly reveal to be a crumbling façade, humans are very much the same as the dawn of the species. This is a book-length topic and as such I'll stop.
Fargo is brilliant from the first scene of the first episode of the first season. This isn't a review, but an alert to people who may be thinking about watching the show. Pay close attention. There're many details in scenes and loose bits of dialogue to deepen our knowledge of ourselves and humanity in general. The understanding and the criticism of our ways is there, is not subliminal (though sometimes appears symbolically). Pay close attention and you will be surprised.
I ordered from the Darkweb.
I ordered from the Darkweb.
This is the most sweet It's Always Sunny In Philadelphia to date. It is almost like the episode in which Jerry cries, admitting he cares about his girlfriend of the week. So Dennis admits he have feelings and Mac, who didn't retract his homosexuality, tackles into those feelings to semi-perfection.
It have anthrax in the Valentine Day's box, a tapeworm ordered from the Darkweb and named Jerry, a forced sung strange Valentine's song.
With all due respect to Mr. McElhenney I just love Dee; in the beginning of the episode when she make a face after Dennis lay out his plan for the day (working at the bar?) my heart just melted and my smile widened, and her goddamns and goddamits and her little kicks: just wonderfully funny.
And, of course, there's a mysterious crate in the ally. And, also of course, The Gang manage once more to do what they always do Oh, yeah, there's a strange homeless-man (R.C. is in the house!) asking permission to use some angel dust in the bar's bathroom to utter outrage and amazement of a few clients (yes, there's clients in this episode!).
Great episode as always. To me the show is better than Curb Your Enthusiasm, mainly because Curb can be a bit pedantic and bourgeois sometimes. In my heart Seinfeld still number one though. But IASIP is very dear to me
Your cock was in my face!
Your cock was in my face! It's Always Sunny indeed.
I sincerely thought that this episode would go nowhere, but I should have known, by now my confidence in the talent of these amazing people should be rocksolid, but hey I'm only human.
In this episode (the most simple and oldschool of the season so far) we follow Dee quite a lot (not enough for me she should be around more) trying to raise the level of selfworth of a malestripper while Frank and Mac play some VRgame and Dennis (confronting his rape issues) and Charlie try to take the place of the male stripper. What follows is pure hilarity: Dreams within dreams, alleged PTSD, Rickety Cricket and more. Was nice to see that they gave continuity to the house in the suburbs and the old man.
Although I have doubt it (stupid me) by the end the plot have proved to be almost as tight as in a Seinfeld episode, but all Sunny, of course.
Dee shows how dark she can be and might have surpassed her brother with some pretty pretty pretty perverted stuff...
There's, probably, some saliva on my screen.
Will Mac finally stay out of the closet? I doubt it, but it is hilarious to watch the gang's interaction.
I thought was crazy when (in season 2) they start moving away from reality little by little until the point were there is pianos hanging above peoples heads in the most old-school cartoonish way possible: funny right there! The subtlety of Charlie explaining his tentative of covering the smell of cigarettes with letting a skunk spray him and then stepping in dog fesses is amazing to me (the demonizing of smokers!).
Anyway, a great episode: another one.
I cannot believe people really are saying that the show has lost its quality (or that it isn't funny anymore); it got more ambitious that's for sure, but this fact don't diminish its quality, the cleverness still there and the laughs still plentiful.
I'll be somewhat sad when the last episode of the last season airs, but I'll for sure complete the collection and routinely laugh until I can't feel my face.
Season 12 is the most distinguished yet
The show that keeps raising the bar and jumping over it. As Seinfeld and Curb Your Enthusiasm you'll think that there isn't any place left for the creators to go, but they find places (many places) and oh! they do go there. It's glorious. Season 12 is the most distinguished yet (they always try something different from the previous season, but this time it's more, much more, complex, with each episode using different styles and narrative forms, and it seems like they aren't going old-school Sunny anymore: The Gangs goes to such and such bizarre adventure, and I find that great). I'm laughing so hard that I can't feel my face. I believe that they are working the way up to the greatest comedic series finale of all time. Just a couple (I feel the loss already) more seasons and we'll find out.