The Duological Monthly Update for September 2017

Well, I don’t know about you, but September flew by — it doesn’t feel like we can be in the last quarter of the year already. But here we are.

Two weeks ago I posted a mid-month update that noted September was behind average and asked the question, “could this be the first month in over three years to not reach the ten-film threshold?” Well…


#119 Antz (1998)
#120 Vintage Tomorrows (2015)
#121 Lions for Lambs (2007)
#122 Guardians (2017), aka Zashchitniki
#123 Life (2017)
#124 T2 Trainspotting (2017)
#125 Kingsman: The Golden Circle (2017)
#126 Yojimbo (1961), aka Yôjinbô
#127 Drew: The Man Behind the Poster (2013)
#128 Black Swan (2010)
Kingsman: The Golden Circle
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  • So, the answer to the mid-month question: no. I watched exactly ten new films this month, maintaining that double-figure minimum for the 40th consecutive month.
  • However, that does make it the lowest month of 2017. It also failed to reach the September average (previously 11.78, now 11.6), the rolling average for the last 12 months (previously 14.25, now 13.83), and the average for 2017 to date (previously 14.75, now 14.2).
  • Part of the reason for this shortfall is I’ve been making more of an effort with my Rewatchathon. More on that later.
  • This month’s Blindspot film: Akira Kurosawa’s pre-make of A Fistful of Dollars, the superb samurai movie Yojimbo.
  • This month’s WDYMYHS film: with everyone getting in a tizzy about mother!, I thought it was a good time to finally get round to Black Swan. No idea what I’ll make of Aronofsky’s new one (I’ll catch it on Blu-ray or something), but I thought Black Swan was fantastic.
  • This month’s titular adjective comes from the fact I watched Trainspotting 1 and 2, Kingsman 1 and 2, and Wayne’s World 1 and 2. Just a coincidence, that. Shame I didn’t watch Sanjuro ‘n’ all, really.



The 28th Monthly Arbitrary Awards

Favourite Film of the Month
When I eventually get round to reviewing them, there’s a couple of films this month that will likely get the full five stars. Neither of those were the most enjoyable experience I had in front of a screen this month, though. That honour goes to Kingsman: The Golden Circle.

Least Favourite Film of the Month
I don’t know what I expected, but it turns out a Russian superhero movie whose trailer went viral purely because it featured a bear wielding a machine-gun wasn’t actually the basis for a great film. Sorry, Guardians.

Best Poster of the Month
Eh, sod any of these films’ posters — documentary Drew: The Man Behind the Poster is stuffed full with some of the greatest movie posters of all time, all painted by Drew Struzan, of course. For me, his three posters for the Back to the Future trilogy take some beating.

Best Dance Scene of the Month
Natalie Portman may have undergone a tonne of personally-funded training so she could do 80% of Black Swan’s ballet sequences for real, but she’s got nothing on Channing Tatum’s poison-induced moves in Kingsman.

The Audience Award for Most-Viewed New Post of the Month
For whatever reason, this is by the far the lowest-ranked most-viewed new post of the year so far: previous ones have all been in the top ten most-viewed posts for their month (surrounded by posts that weren’t new, obviously), but September’s victor was down at 16th. And for the fourth time this year, it was a TV review; specifically, my thoughts on the Twin Peaks season 3 finale. (The highest new film review was Kingsman: The Golden Circle, in 23rd overall.)



As I mentioned above, this was a good month for my Rewatchathon; in fact, it’s tied with May as the best so far.

#29 Jumanji (1995)
#30 Godzilla (1998)
#31 Trainspotting (1996)
#32 Kingsman: The Secret Service (2015)
#33 A Fistful of Dollars (1964)
#34 Wayne’s World (1992)
#35 Wayne’s World 2 (1993)

Lots of films I’ve been meaning to re-watch since my childhood this month — Jumanji, Godzilla, Wayne’s World — all films I watched on or close to their original release but haven’t seen since.

Godzilla was also my latest attempt at watching something in 4K. I’m beginning to come to the opinion that 4K does actually look better than 1080p, but, Jesus, it’s hard to tell. When I switched from SD to HD the difference was like night and day (that’s not the case for everyone, I know — some people either can’t tell or don’t care enough to notice), but from HD to UHD it’s like, “Is it better? It might be… I think…?” Maybe a side-by-side comparison would make this clear, but I’ve not been arsed to set one up. I think I’ll continue to get the 4K option when I subscribe to Netflix in the future, but I certainly have no plans to invest in a new Blu-ray player or start re-purchasing (or even initial-purchasing) my collection on 4K discs.


Party like it’s 2049.

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The Is It Future or Is It Past Week on TV #23

What the fuck just happened?

Twin Peaks  Season 3 Episodes 17-18

Well.

Twin Peaks: The ReturnThe entirety of The Return has been a very divisive piece of television. For all the praise it’s received from certain critics and cinephiles, there are other viewers and reviewers who think it’s a case of Emperor’s New Clothes. The finale — which looks likely to also be the finale to the entire Twin Peaks universe, unless something changes — is all of that in a microcosm, with some hailing it as a perfect capstone on a masterpiece, while others berate it for being inconclusive and overly ambiguous rather than a true ending.

In my view, anyone who expected co-writer/director David Lynch to resolve and explain everything in a clear and concise manner was on a hiding to nothing. Even with the normalising influence of co-writer Mark Frost, it’s been clear throughout the season that this is more of an 18-hour David Lynch film than another season of Twin Peaks as we knew it. That said, I confess I’d hoped for more wrap-up than we got. I never expected every aspect of the series’ complex mythology to be explained — both Lynch and Frost revel in the idea that a bit of mystery is more interesting than a thorough explanation — but what we did get looks an awful lot like a cliffhanger. It’s perfectly possible to finish a story without explaining all of its mysteries, but this feels like a story unfinished.

But let’s not let the closing moments overshadow everything. There was a lot to like in the double-bill finale — and I say “double-bill” rather than “two-part” because Part 17 and Part 18 felt distinctly different from one another. Some have called Part 17 the true ending of The Return and Part 18 the start of something else. If there was another season (or a movie, or whatever) coming, I’d agree with that explanation; but there isn’t, so we have to view it all as part of the one thing.

Coop de grâcePart 17 saw most of the series’ central characters converge on the Twin Peaks Sheriff Station for a showdown with, first, the evil Mr. C, and then BOB, now in the form of a floating ball with a face. In most shows none of this would make a blind bit of sense, but in Twin Peaks it’s what amounts to clarity. Indeed, I’ve even seen some people criticise it for being too pat and obvious. Everyone’s entitled to their opinion, right? But anyone who wanted a full-blown reunion between their favourite characters was in for disappointment, because almost as soon as Agent Cooper was back among both his Twin Peaks and FBI friends, he was off again — transported into the past, into the events of Fire Walk with Me, to try to save Laura Palmer. It was an effective use of old footage and new matching bits, and it suggested we may be in for some kind of conclusive end to the main storyline, especially when there were further modified flashbacks to the pilot.

But then there was a cliffhanger and Part 18… well, Part 18 had very different ideas. Even this late in the day — the last 5.5% of the season — Lynch was merrily introducing new mysteries, paying no heed to the dozens already unanswered. At the very beginning of the season, the Giant, aka the Fireman, had told Cooper, “Remember 430, Richard and Linda, two birds with one stone”. Now, we seemed to be finding out what that meant, as Cooper and Diane drove 430 miles to… something… after which they stopped at a motel, slept together, and Cooper woke up to find a note for him but addressed to Richard from Linda. O…kay…

Coop de grâceAs the episode went on, most of it seemingly filled with people driving together in silence, it became increasingly clear that we weren’t going to find out many of the things we’d been wondering about (first among them for many fans: what was going on with Audrey?), nor did it look likely we’d be getting a nice button on the main plot line of the show. That turned out to be the case, with a mysterious final scene that, as I said earlier, felt more like a cliffhanger than an ending. That happened in season two as well, of course, but then back then it wasn’t intended to be the final end — this is. You can see why some fans would be angered by that. Conversely, others revel in the open-ended-ness. Horses for courses, I guess.

Personally, I don’t know that I’d call this belated third season of Twin Peaks an unqualified success. It was certainly an experience, a journey I’m glad to have gone on, and one I expect I’ll undertake again someday — indeed, I feel more like watching it again soonish than I did season two, which I also watched for the first time this year. That said, in part that’s because season three moved at such a unique pace, and ends with so many apparently unanswered questions, that it feels more like it requires a second viewing to make sense of it; to understand it as one singular 18-hour work. And while that remains true, it still didn’t fulfil everything that I hoped it would.

I’ve already spent several hours reading articles trying to make sense of it all. I expect, in the years to come, I’ll be reading more. I guess whether it is a masterpiece or it is the Emperor’s New Season, that shows its power as a work of art.

You've been Lynched

Next month… after a busy summer, I intend to put this TV column back in its place: monthly.

The Past Fortnight on TV #22

It’s only been a fortnight since my last “monthly” update but it’s been a busy one, with the entirety of Marvel/Netflix miniseries The Defenders and two feature-length instalments of Game of Thrones to look over.

Also reviewed: the penultimate pair of Twin Peaks episodes, the first season of Designated Survivor, and the pilot of Rick and Morty.

The Defenders  Season 1
The DefendersAfter years of build-up, and a grand total of 65 episodes of lead-in shows (yes, that many, really), we’re finally here: the culmination of Phase One in the Netflix arm of the Marvel Cinema Universe. Like Phase One of the movie side, said culmination is a big ol’ team-up of every hero we’ve been introduced to so far, working together to stop a threat that’s been building across some of their individual series.

The Defenders is the epitome of the “it’s really an X-hour movie” style of TV making. It starts slow, confident both that it’s got 8 hours to tell its story (though it actually only takes 6½) and that the majority of its viewer base will stick it out whatever. Said viewers have been divided on its merits, but I bet most of them did stick around for all eight episodes. I mean, if you made it through Iron Fist, The Defenders is a walk in the park. (Interesting aside: apparently most Netflix subscribers have watched at least one of the four contributing series, but very few have actually watched all four.)

Episode one, The H Word, takes its time to reintroduce us to the four lead characters, showing where they’ve been and what they’ve been up to since we last saw them in their own series. Depending on your whims, the aggressive colour grading used to differentiate each thread is either a neat visual shortcut or laughably overcooked. It’s kind of impressive that each strand evokes the style of its root show, though that means the combination feels like a bit of a hodgepodge. The downside is that the way hip-hop music kicks in almost any time Luke Cage appears (there’s no similar aural affectation for any other character) feels like a parody.

In Mean Right Hook, we begin to see that the apparently-unrelated storylines of our four heroes are, shocker, actually connected — who saw that coming? But it’s not until Worst Behavior that we get them on screen together. The episode is every inch the end of act one: it’s confirmed where all the separate threads lead (the Hand), we find out what happened to Elektra, and our heroes team up for the first time. That it takes almost three whole episodes to get to this point is emblematic of the leisurely pace these streaming series take; the downside of shows being released all at once and treated as a long movie in segments. It would be better paced if the team was together by the end of episode two — dividing what was originally billed as a miniseries into four two-hour chunks seems natural to me.

Teamed upWith the team introduced to one another, Royal Dragon is almost a bottle episode — the gang hole up in a Chinese restaurant to hide from the Hand and make a plan. It works neatly to let our heroes settle their differences and agree to actually team up. There’s some fun sparky dialogue in their interactions, too. For my money it’s the best instalment of the series. The downside: having said episode three is the end of act one, episode four really feels that way, with the team finally united — but we’re halfway through the series.

So now it’s into a truncated middle. Take Shelter is a lot of business, transitioning the series into its second half — getting the supporting casts into safety, establishing where the plot is headed now they’ve teamed up. Ashes, Ashes livens things up, splitting the team into the mismatched pairings of Luke/Danny and Matt/Jessica, which keeps things lively as they put the pieces together. Cap that off with a couple of big twists at the end and it makes for a low-key great episode.

The final two episodes, Fish in the Jailhouse and The Defenders, form a suitably epic-ish conclusion — essentially, a big punch-up (with a bang), though with character moments and developments liberally scattered throughout. As to how to finally wraps it all up… well, no spoilers, but it plays a card it can’t follow through on (but at least has the good grace to admit that as a parting shot), and doesn’t conclusively end some of the things I thought it would. Maybe future seasons of Marvel/Netflix shows will decide to leave those threads dead and buried; maybe they’ll resurrect them. I hope the former, but they haven’t shut the door on the latter. Either way, I think it’d be difficult to keep watching any of the individual series without also making time for The Defenders.

Going downOverall, the relative brevity and speed of the story here does make it feel like an event miniseries, more than the sprawling and novelistic styles of the four contributing series. Maybe it’s just because it’s how I chose to watch it, but I reckon it plays better as four feature-length episodes than eight normal-length ones. As this is Netflix and you can watch at your own pace, maybe that doesn’t matter; but if you were watching this weekly, I think it’d be immensely frustrating that it took three whole weeks to get to the actual team-up. In a post-series interview, the showrunner talks about how they didn’t have time for certain character combinations that writers and/or fans wanted to see. Well, you could’ve made time if you’d got a move on with things in the first few episodes. The freedom streaming series are allowed is great, but some of the hoops network shows are forced to jump through do have pleasant side effects.

In the end, The Defenders is much like it’s big screen analogue, The Avengers: it’s fun to finally see all of these characters come together, and there are good bits scattered throughout, but ultimately it struggles to measure up to expectations, or to reach the same heights of quality as the better individual adventures. Put another way: it’s not Iron Fist, but it’s not quite Daredevil or Jessica Jones either. Somehow, I guess it makes sense that a series which combines all the other series would end up settled at the median of their quality levels.

Game of Thrones  Season 7 Episodes 6-7
Men on a missionPicking up where the previous episode left off, the season’s penultimate episode saw us follow Jon Snow and his band of merry men Beyond the Wall in search of evidence. What ensued was a Thrones version of the “men on a mission” narrative, with the characters sharing scenes in a variety of combinations (I think we can all agree the Hound / Tormund exchange was the highlight) before running into trouble. Surrounded and outnumbered on a frozen lake, with Gendry sprinting back to Eastwatch for help, this is where some people found massive problems with the episode.

The whole season has been called out for its apparently flexible attitude to time — in particular, how long it takes to traverse huge distances — and Beyond the Wall focused that into a microcosm. Personally, I think the season (and episode) could’ve handled this better if they gave us a few more points of reference — a line here or there about how long people had been away, a shot of them travelling, that kind of thing. It doesn’t help that things are moving at a different pace to earlier seasons. Maybe in the past there were days between individual scenes; now there are weeks. That throws off viewers’ expectations. Nonetheless, the production team’s defence — that there can be weeks between scenes — covers almost all of the complaints. Even in this one episode, we don’t know precisely how long the guys are trapped on the lake. It’s at least over night, and in the North in winter nights would be very long.

Any episode with a flaming sword can't be all badSo ignoring those somewhat facile complaints, we can get back to looking at the end of the episode as pure spectacle. Other people (people not complaining about the timelines) hailed this as the series’ most incredible visual display yet. Well, some people always do that. It was great to see the dragons in action against the army of the dead, the exploding ice indeed looked spectacular, but as a battle it wasn’t equal to what we saw in Hardhome, Battle of the Bastards, or this season’s The Spoils of War. Coming fourth(-ish) to those is still a mean feat.

As for the ending… deus ex machina gets thrown around in online discussions a lot these days. It’s almost always used incorrectly. That was the case here. Still, the whole thing with Jon Snow almost drowning and then pulling himself out was a bit silly. We know he’s got the thickest of thick plot armour — stop putting him in mortal danger and then having to jump through ridiculous hoops to save him, it just shatters the illusion.

With the proof acquired, it was on to King’s Landing for a long-awaited meet-up by most of the surviving cast members in the feature-length finale, The Dragon and the Wolf. I don’t know about anyone else, but it felt like two episodes glued together to me. The aforementioned conference took up exactly half the episode, I believe, with the second half moving on to events at Winterfell, back at Dragonstone, and between Cersei and Jaime in the wake of promises made and already broken. Of course, if you did split it in half then each episode would only run about 43 minutes, and we’ve seen how angry some fans get when episodes dare to run as short as 50 minutes.

It's my throne and you can't have itSome people were blown away by the twists and revelations in the finale. I guess it’s the fault of the internet age, but it felt like an awful lot of stuff that had just been a long time coming to me. The Night King using his dragon to melt the wall should probably have been mind-blowing, but it felt like it was just a matter of time (him actually getting a dragon the week before, however, was as effective as it was meant to be). The reveal about Jon Snow? We’ve already had enough breadcrumbs to put it together. It’s not really worth mentioning until Jon hears it for himself. On the other hand, the revelation that Bran doesn’t know everything — he has the option to see anything ever, but he has to go looking for specifics — is potentially important. How? Well, we’ll see.

On the whole, it seems to have been a divisive season of Thrones. I feel like I’ve written that sentence before. Some people thought it moved too quickly — presumably not the same people who used to moan about how slow it was. Some missed the character moments that allowed for; others revelled in the spectacle on display almost every week. I wouldn’t have minded a slightly slower pace, spreading the big events out a little more (the end of The Queen’s Justice was particularly over-stuffed with major events), but said events were hugely impressive in themselves. HBO may lavish Thrones with an insanely large budget, but it’s all on screen, looking more like a summer blockbuster than a cable TV series.

Season eight is now on its way — eventually. It feels like there’s still a lot of story left to get through. With only six episodes left, I hope they’ve given themselves enough time to wrap it up satisfactorily.

Twin Peaks  Season 3 Episodes 15-16
He is the FBIAs we reach the penultimate week of the Twin Peaks revival, the one-armed man speaks for us all: “You are awake… Finally.”

Yes, it’s true: the thing most viewers have wanted since, ooh, the first bloody episode has finally happened: FBI Special Agent Dale Cooper is back in the building. The advantage to the excruciating wait for his return was that, when it came, it was joyous. I don’t think anything has given me as big a grin this year as “I am the FBI.” Well played, Mr Lynch. Now the next two hours better be bloody good to make up for that wait…

Actually, it finally feels like there’s hope it might all wrap up and come together. Of course, this is David Lynch we’re talking about — his idea of “all wrapped up” is not the same as most people’s. But pieces are moving into position, some answers have been forthcoming, and the stage is set for an ending that is satisfying on at least some level, even as it inevitably leaves numerous things open for people to ponder for decades to come. Lynch has said before that season two’s cliffhanger was not how Twin Peaks was meant to end, so I don’t think it’s too daft to presume we’ll get something a bit more conclusive this time round.

Designated Survivor  Season 1
Designated SurvivorWhile signed up to Netflix for The Defenders, I also started watching this Netflix “Original” (it’s on ABC in the US, but Netflix have global rights, hence it gets their “we made this, honest” branding over here). Its setup has intrigued me since it launched last year, but its traditional release model (21 episodes across nine months) didn’t fit with my “subscribe for a month now and then” usage of Netflix until after the season had finished, i.e. now.

It stars Kiefer Sutherland as President Jack Bauer— dammit! President Tom Kirkman, a man who didn’t want the job: during the State of the Union address, Kirkman is the “designated survivor” — a member of the cabinet squirrelled away somewhere secret in case disaster strikes. And strike it does, as the entirety of the US government is wiped out in a massive explosion, thrusting Kirkman from junior cabinet member about to lose his job to leader of the free world. As he copes with his newfound responsibilities — not only rebuilding the government, but retaliating against those responsible and battling forces at home who question his legitimacy — we also follow an FBI agent who unearths a conspiracy behind the attack.

The dual-pronged narrative means the series plays like 24 meets The West Wing, with a big conspiracy storyline unfolding across the season while Kirkman faces a variety of political challenges and emergencies on a week-to-week basis. It’s not quite as sophisticated-feeling as Aaron Sorkin’s classic, though maybe that’s just time speaking — the rise of prestige TV has kind of dulled the ability of network shows to feel high-quality, and I wonder if The West Wing would hold up as well today. Anyway, what Designated Survivor lacks in sophistication it makes up for with watchability: we burned through the entire season in under a fortnight. Its American patriotism may be unpalatably cheesy at times (Kirkman makes a speech in the finale, greeted with a standing ovation from Congress, that’s like eating a stuffed crust quattro formaggi with extra cheese and mozzarella sticks on the side, all dipped in fondue), but if you can stomach that it’s a decent drama. I’ll be back for season two.

Also watched…
  • Rick and Morty Season 1 Episode 1 — People seem to keep going on about how great this is (it’s ranked as the 7th best TV series ever on IMDb), so, despite thinking it looked singularly unappealing, I thought I should give it a go. The pilot does not bode well. It has some fantastic throwaway ideas, but the characters and tone weren’t to my taste. Apparently it gets better though, so I’ll give it a couple more chances.

    Things to Catch Up On
    The TickThis month, I have mostly been missing Amazon’s new version of The Tick, the first half of the first season of which debuted last week, a full year after the pilot was made available. I wasn’t too impressed by that episode (my review is here), but I’ve heard episode two rights the ship somewhat, so I intend to make time for it at some point.

    Next month… it has happened again: Twin Peaks reaches its conclusion.

  • The Past Month on TV #21

    Another busy, busy month — I should’ve split it into fortnights again.

    Anyway, read on for reviews of Top of the Lake: China Girl, the latest instalments of Game of Thrones and Twin Peaks, ‘old’ shows like Line of Duty series 3 (from all the way back in 2016) and Peaky Blinders series 2 (from even longer ago: 2014), and even more bits & bobs too.

    Game of Thrones  Season 7 Episodes 2-5
    Arya's as surprised as the rest of usThe first of this month’s quartet of trips to Westeros, Stormborn, demonstrated better than the premiere the whip-crack pace the show is now moving at. To pick one example: Arya re-encountered Hot Pie and learnt that Winterfell was back in the hands of the Starks, changed her plans to journey there instead of King’s Landing, and encountered Nymeria (her wolf last seen way back in the second ever episode), who now leads a pack of wolves and, basically, rejected Arya. All those developments previously would’ve taken Thrones a good four or five episodes to get through, but no more. There are benefits to this, of course — no more longueurs — but the worry is Dan & Dave are rushing for the sake of rushing; because they told themselves this story would be done in 73 episodes and they’ve kind of had enough after the best part of a decade working on it. Still, it’s not as if it’s bad, it’s just faster. And where the episode promises exciting reunions and first meetings left, right, and centre, we can be assured they’re just around the corner.

    Almost literally, as Jon Snow, hot off deciding to go visit Dany at the end of the previous episode, rocks up to Dragonstone in The Queen’s Justice for the long-awaited meet-up between aunt and nephew — not that either of them know that. The show doesn’t even make us wait all episode for it, kicking right into it. And, again, things move every onward, as cunning plans are executed, thwarted, and bettered. It’s been reported that this season has the same budget as normal, despite having three fewer episodes, and that clearly shows on screen with epic battles almost every week.

    Jon and Dany, sitting in a tree...The most epic so far came in The Spoils of War. Apparently it’s been dubbed the Field of Fire — if there’s one thing Game of Thrones is consistently good at, it’s giving its big events cool monikers. (The “Field of Fire” is also an event from the series’ backstory, I believe, so maybe some of the reviews I read just got confused.) But it’s not just cool shots of fiery destruction that make this episode so satisfying: it’s the way that changes the game. Not to mention characters coming together after so long apart, both on the battlefield and not. That two girls talking in a crypt can be as thrilling as a dragon blowing shit up is… well, how character investment works, I guess. Some reckon this is the series’ best-ever episode. I wouldn’t go that far, but it is right near the top.

    By comparison, Eastwatch was almost a calm affair. Okay, that might be an exaggeration; but there were no epic battles this week (just a cliffhanger teasing one next time). It continued to contribute to this perhaps being Thrones’ most satisfying season ever though, with yet more long-awaited reunions, a couple of pretty major revelations, and some great skullduggery and counter-skullduggery. It also held fan-pleasing moments aplenty, my personal favourite being Davos’ meta one-liner. If it doesn’t stand out as an all-round all-time classic like the episodes surrounding it, that says more about them than it does this quality instalment.

    Top of the Lake: China Girl
    Top of the Lake: China GirlElisabeth Moss, star of both Mad Men, a series partly about the sexual politics of the ’60s workplace, and The Handmaid’s Tale, a series about the sexual politics of a world where women are baby-making slaves, returns as Det. Robin Griffin for a second run of Top of the Lake, which is now a series about the sexual politics of present-day Australia.

    Set four years after the first season, China Girl sees New Zealander Robin back at work as a police detective in Australia. The inciting incident happens on Bondi Beach, but this is not the world of sunny tourist hotspots or chirpy vets: it’s the body of an Asian prostitute, brutally murdered and shoved in a suitcase, then dumped to rot in the ocean. And it gets grimmer from there. Meanwhile, Robin seeks a connection with the daughter she gave up for adoption at two days old, who is now a headstrong and over-assured seventeen-year-old blindly falling into something way out of her depth.

    After a first episode that seems somehow tentative, as if it’s considering on the fly whether it should be a second season or a standalone narrative with the same protagonist, China Girl quickly resolves into its own beast: with vital groundwork laid in that sometimes stilted first hour, it hits the ground running as soon as episode two (making me wonder if, with further hindsight or a rewatch, the first episode wasn’t so awkward after all). Over its remaining five hours, China Girl increasingly impresses as dark, difficult, uncomfortable, challenging, and powerful drama. It’s also laced with surprising humour, and it’s a bit pretentious too. I can see why it was a hit at Cannes.

    Elisabeth Moss and Gwendoline ChristieThere are some great performances in there too, mainly from the female characters — no surprise, really, considering creator and co-writer/co-director Jane Campion is clearly interested in exploring women’s place in the world. Moss carries things, with Robin competent but combative at work (she needs to be, as the Australian police force seems stuck in the ’70s with its gender politics) even as her personal life is a tumultuous mess. Nicole Kidman gets to play it kooky as the adoptive mother of Robin’s child, who’s gone all spiritual and lesbian recently. The most entertaining is Gwendoline Christie as an enthusiastic constable who latches on to Robin, eager to be her protégé. She brings the bulk of the humour, with great lines and moments aplenty, but also brings emotional depth when needed.

    The whole thing ends with a degree of ambiguity rather than a killer blow, answering all the plot mechanics but seemingly less clear on how it wants to conclude its important themes. Nonetheless, for me it was an order of magnitude more interesting than the good-but-kind-of-woolly first season, and therefore a lot better than it too.

    Twin Peaks  Season 3 Episodes 11-14
    Two CoopersI must be honest with you, dear readers: the longer this Twin Peaks revival goes on, the less I feel I’m enjoying it. It works best when Lynch is trying to out-Lynch himself. Those episodes are crazy and borderline nonsensical and insanely challenging to what constitutes filmed entertainment, but at least they’re interesting; and if you don’t get it you can dismiss it as “it’s Lynch, innit”. It’s actually the ‘normal’ stuff — the investigations and machinations in South Dakota, Las Vegas, and Twin Peaks itself — that are beginning to get on my wick. Again, at times there are moments of clarity or inspired weirdness, but in between sits a morass of sludgy plotting and wilfully obscure characterisation. It’s starting to nudge the series from “revelatory experiment” into “noble failure” territory, for me.

    That said, there was a definite uptick at the end of this month’s viewing, with Part 14 providing a lot of long-awaited developments and forward momentum for the plot (plus one of my favourite of the end-of-episode performances at the Roadhouse, Lissie’s Wild West). Perhaps everything will finally come together in the remaining few episodes after all? Or perhaps everything will slow down again and we’ll be done the wiser come the end of Part 18. Only time will tell…

    Line of Duty  Series 3 Episodes 4-6
    Line of Duty series 3As I noted last month, the third series of Line of Duty seems to be the one that attracted the most adulation. I was reserving judgement until I’d finished, because at the halfway point I wasn’t finding it superior to the brilliant second series.

    For those still unaware of the show, it’s about a police anti-corruption unit, and in this six-parter they were looking into an officer who shot a suspect and covered up the circumstances. That wasn’t all that was going on, however. Line of Duty pretends it’s about a new case each series but, really, it told one big story across its first three runs. I wonder if that’s why some have hailed this one as its best: it finally brings all those long-brewing arcs to a head. Unsurprisingly, the bulk of the resolutions come in the feature-length finale, which is certainly a striking episode. Nonetheless, I’d argue series two was better overall — I felt it had a greater sense of mystery, palpable tension throughout, and the plot was more unpredictable. Still, I don’t wish to do the third series down — being second-best to that is no mean feat.

    Peaky Blinders  Series 2
    Peaky Blinders series 2The second series of BBC Two’s period crime drama jumps forward two years to find everyone’s favourite Brummie criminals running such a successful business that they intend to expand their operations to London, by sticking their oar into a turf war between the Jews (led by Tom Hardy) and the Italians (led by Noah Taylor). Meanwhile, Sam Neill’s copper is back with a vengeance, teaming up with the Irish to blackmail Blinders kingpin Cillian Murphy into performing an off-the-books assassination for the crown.

    Peaky Blinders’ second series ups the ante from the already excellent first, pitching its leads into a more dangerous world where they’re not the major force to be reckoned with. As its stories unfurl over six hours (without needing to resort to wheel-spinning), you begin to wonder how they can possibly escape the various binds they find themselves in. It all builds to a payoff-filled finale, even though things don’t go quite to plan… Where that will take things in the third series will be interesting to see. (For more up-to-date fans than me, the fourth series is due later this year.)

    Also watched…
  • The Bletchley Circle Series 1-2 — ITV’s short-lived drama (just seven episodes across two series), about former Bletchley Park codebreakers using their skills to solve crimes in ’50s London, is chiefly notable for its intelligent and capable female heroes. The first series is good, but I felt like the second was beginning to struggle to sustain the conceit — just how many criminal conspiracies were these ladies going to stumble upon?
  • The Musketeers Series 3 Episodes 1-3 — the last season! Sob! If you like swashbuckling excitement and have let this show pass you by, do find a way to catch up on it.
  • Sherlock Pilot — finally got round to watching this unaired pilot (it’s included as a special feature on the series one Blu-ray). I was under the impression it was something of a disaster, but it really isn’t. The direction isn’t as flashy as the final show (but is otherwise fine), and obviously it’s half-an-hour shorter, but other than that it’s all very similar.
  • Wallander Series 4 Episodes 2-3 — an adaptation of the final novel, in which the Swedish detective investigates a case relating to a shameful incident in his country’s past while battling early-onset dementia. It’s a superb idea for a story — the once-great detective battling his deteriorating mental faculties. This being Wallander, it tackles the concept from a more personal, emotional perspective, rather than a Memento-esque plot-driven one, but is no worse for it. It’s a sad end for the character, but an affecting one for his series.

    Things to Catch Up On
    Torchwood: Aliens Among UsThis month, I have mostly been missing Torchwood: Aliens Among Us. Although ‘just’ an audio drama from Big Finish, it’s being marketed as the series’ official fifth season, picking up after the events of 2011’s (disappointing) Miracle Day. A full 12-episode run, it’s coming out in three box sets — although part two isn’t out until October and part three until February, part one came out last week. Obviously, I’ve not listened to it yet. Hopefully next time…

    Next fortnight… another earlier-than-normal edition, as Netflix gets defendered and Game of Thrones reaches a feature-length finale. Yes, already.

  • The Past Fortnight on TV #20

    Like some kind of Walder Frey impersonator, I’m having two feasts in a fortnight — two feasts of TV reviews, that is!

    It may’ve passed you by (don’t think I’ve seen any coverage of it anywhere at all), but Game of Thrones is back, so that’s where I’ll begin…

    Game of Thrones  Season 7 Episode 1
    Game of Thrones season 7Season premieres of Thrones are typically concerned with re-establishing where all the major characters are, and maybe moving their stories on a few baby steps to indicate where they’ll be headed this season. Dragonstone is no exception. So where Arya had arrived in Westeros to kill the Starks’ enemies, now she’s slaughtering them by the hallful; where Bran and Meera were headed for the Wall, now they’re passing through it; where Jon and Sansa were taking charge in the North to be ready for war, now they’re preparing for war; where Sam had headed to the Citadel to research important stuff, now he’s in the Citadel researching important stuff; where Cersei had taken the Iron Throne and Jamie had his doubts, now Cersei’s preparing to defend her kingdoms and Jamie has his doubts; and where Dany was sailing for Westeros with her hodgepodge military, now she’s landed in Westeros. The wonder of Thrones is that it can take such scene-setting and turn it into riveting television.

    That’s because everything about the show is so well put together. Each sequence offers one or more out of sharp-witted dialogue, sublime direction, surprising emotion, or badass mass-murder, alongside consistently stellar performances. David Bradley, Rory McCann, and Sophie Turner were the particular standouts this episode, I thought, with special mention for all that John Bradley had to endure in the name of a montage. Although some scenes only left us with more questions about the future, others were satisfying vignettes in their own right. It’s a good mix.

    Ed SheeranIn fact, the only thing letting the side down was the well-publicised cameo by Ed Sheeran. If you have no idea who Mr Sheeran is then perhaps his appearance was fine — his acting was no worse than dozens of other bit players they’ve had on the series before now. But if you do know who the singer-songwriter is, his appearance was like being served a cheese board accompanied by cheese crackers with a glass of melted cheese and extra cheese on the side. After devoting what felt like a significant chunk of time (but was probably mere seconds) to him singing a song, Arya trots over to him and goes, “I don’t know that one,” and he says, “it’s a new one,” which he may as well have followed up with, “which you can hear in full on my new album, available now everywhere music is sold.” I have no idea if he has a new album out, or if that song would be on it if he did, but that’s how it felt.

    Anyway, maybe next week Arya will murder him in his sleep. Things to look forward to…

    Twin Peaks  Season 3 Episodes 9-10
    Happy times in Twin PeaksSlowly, very slowly, the disparate strands of Twin Peaks Mk.III seem to be coalescing into a coherent, connected story… which is almost more frustrating, in its own way. By that I mean: when it was wilfully obscure, you just kind of went with it — it was Lynch being Lynch, and you had to let it wash over you and allow your feelings to do the deduction about what it was supposed to signify. Now that the plot is beginning to crystallise into something your rational brain can make sense of, it feels a mite slow in getting there. I mean, while Dougie Jones is less annoying than he used to be (helped in no small part by the brilliance of Naomi Watts), I still miss real Coop, and we’re running out of episodes to spend time with him again. Was MacLachlan just feeding us a red herring when he said he’d “almost forgotten how to play him”? Because he hasn’t played him yet! Ach, we’ll see. It remains defiantly its own thing, and at least we can trust Lynch is going somewhere with it — even if we may never be able to work out precisely where that somewhere was…

    Automata  Season 1
    AutomataBased on a webcomic from the creators of Penny Arcade and funded through Kickstarter (so far it’s only available to backers), this miniseries-cum-pilot (the five short episodes total 58 minutes) takes place in an alternate Prohibition-era America, where “Prohibition” instead refers to the ban on production of automatons — sentient robots. Ex-copper Sam Regal (Basil Harris) and his partner Carl (voiced by Doug Jones), an automaton, now make ends meet as PIs, doing the usual PI thing: photographing cheating spouses. Only this time the run-of-the-mill case leads them into a murderous web that encompasses speakeasies, robo-gigolos*, underground automaton-hating gangs, and a twist ending (natch).

    There are two particularly striking things about Automata. The first is its interesting alternate history. From this opening season (which, as I alluded to earlier, is equivalent to a single episode really) it’s tricky to get an idea of how fully imagined it is, but this is a promising start. Secondly, it has really strong production values, especially for something on such a low budget. In particular, the CGI used to create the automatons is exceptional. But it’s also very nicely shot, with the deep shadows so evocative of noir. It was made available in 4K, so it’s the first thing I’ve bothered to properly watch in that quality since I got my new TV. I must say, I’m not sure it looked any better than a good 1080p transfer. That said, I didn’t watch it side by side with its lower-res version, and my screen is on the low end size-wise of those available in 4K, so maybe it wasn’t the fairest test of the format. When I finally get round to American Gods, or when The Defenders comes out, then I’ll give it a longer trial.

    Anyway, personal technological observations aside, Automata is a well-made proof-of-concept that should satisfy anyone who thinks “Prohibition-era noir story, but with robots!” sounds like a good pitch. And if you’re still not sure, you can watch an atmospheric trailer here. Whether this’ll lead to a full-blown series, or even just further miniseries like this one, it’s too early to say, but I’ll be there to watch them. (And I’ll try to remember to mention when this one becomes available to non-backers, too.)

    * That’s not what they call them, I just thought it sounded good.

    Also watched…
  • Line of Duty Series 3 Episodes 1-3 — with the tennis over, it’s time to dive back into series the other half also cares about. This is the season of Line of Duty, apparently, so it should be a corker. More thoughts on this one next month when we’ve finished it, but that first episode… must’ve been great for those who hadn’t had the twist spoiled!
  • Wallander (UK) Series 4 Episode 1 — it’s been yonks since this final series was on, but we’re finally making time for it. The first episode upped sticks for a South African setting, and so did the production — and they clearly wanted us to know it, with tonnes of truly stunning location photography. It was almost worth watching for that alone, but I also thought the episode had a strong, weighty (if ultimately predictable) story.

    In other news…

    The 13th DoctorThe biggest TV news this fortnight was undoubtedly the BBC’s announcement of the 13th actor to take the title role in Doctor Who. (Well, the 14th. Well, the… oh, let’s not get into that.) As you surely can’t have missed, it was Jodie Whittaker, who is a woman! Gasp! Naturally, there was some outrage. After all, it makes no sense whatsoever that an alien being who can travel in time and changes his whole body every time one gets worn out could possibly, during that change, switch from being a man to a woman, even if it’s been established multiple times within the series itself that such a change is possible. It’s just not plausible, is it?

    It’s difficult to tell whether the loonies who actually believe that groundless claptrap are in the majority, or if the day instead belongs to the many who were mightily pleased by the news. Hopefully the latter. There’s certainly a lot of positive word of mouth, so hopefully the naysayers will be converted. Even most of the media were on side, though some of our pathetic excuses for ‘newspapers’ reverted to predictable type and ran articles on Whittaker’s previous roles that featured nudity. Apparently one paper accompanied it with photos of previous Doctors topless, as if that somehow justified it. On a more intelligent note, Variety ran a piece about the importance of the casting: “Coming from one of the biggest media franchises on the planet, the news that the new Doctor Who is female is huge — and almost completely delightful.” (Emphasis my own, because it pleases me.)

    Anyway, I guess the proof will be in the pudding — in this case, the “pudding” being the ratings. I hope it’s a success. I mean, I always hope Doctor Who is a success, but there is extra weight on this particular incarnation, like it or not. New showrunner Chris Chibnall doesn’t have the strongest track record on the show, but he’s done first-rate work elsewhere, so fingers crossed — at the end of the day, it’ll be the quality of the writing as much as the quality of the performance that will make or break the first female Doctor.

    Things to Catch Up On

    The Handmaid's TaleThis month, I have mostly been missing The Handmaid’s Tale. It belatedly started airing on this side of the pond at the end of May, but it slipped my mind so much that I didn’t even mention it in the May post. Ironically, it’s no longer fully available on demand so I’ll have to get hold of it (at some point) in the same way I would’ve before anyone bothered to air it here. Meanwhile, in “things I’ve actually started”, I’m three episodes behind on Preacher. This happened last year, too. I’m sure I’ll catch up on some or all of it before next month’s column.

    Next month… Cannes hit miniseries Top of the Lake: China Girl.

  • The Past Trisennight on TV #19

    Although I only post my TV overviews once a month, I’m always looking ahead to what’s going to be included in them. That’s what made me realise edition #19, scheduled for July 20th, was going to be insanely busy: new episodes of Doctor Who, Game of Thrones, Preacher, Twin Peaks, and the entire latest season of The Americans — all things I typically review ‘in full’. Whew! So I’ve brought #19 forward a bit, and #20 will be in a fortnight anyway.

    So, here’s what I’ve been watching in the past month three weeks (aka trisennight, a word that Google finds two other uses of ever. Cool.)

    Doctor Who  Series 10 Episodes 10-12
    The Eaters of LightHistory was made left, right and centre in the last three episodes of Doctor Who’s 36th-ever season. For starters, The Eaters of Light marked the first time someone who wrote for the classic series has written for the revived one. Rona Munro penned the last story of old Who, Survival, a personal favourite of mine and one that, stylistically and tonally, connects remarkably well with the first episode of nuWho, Rose, which is quite the coincidence. Anyway, The Eaters of Light was a solid episode with some very likeable parts, but it didn’t seem to quite gel entirely in the final mix. That’s been a recurring theme for the middle of this season, I feel, with every episode since Knock Knock featuring quality ideas and/or characters and/or scenes that aren’t fully developed into a final whole. Nonetheless, I’d certainly welcome Munro returning again in the future, but who knows what Chris Chibnall has planned.

    And then we come to the two-part finale, written (of course) by departing showrunner Steven Moffat. The duology, which sadly is called neither Genesis of the Cybermen nor The Two Masters, continues his previously-stated aim of creating two-parters where each half is a distinctly different episode. The first part, World Enough and Time, is an immediate contender for an all-time great episode of the show. There’s a superb real-science setup with the time-dilated spaceship, plus a suitably eerie hospital in which we ‘unknowingly’ witness the birth of the Cybermen — my favourite Who monster, so perhaps I am a little biased.

    World Enough and TimeI put “unknowingly” in inverted commas there because that’s the episode’s biggest problem: thanks to the show’s own promotion, we knew the Cybermen were coming back, and we knew John Simm was returning as the Master. In truth, the former isn’t a problem. Sure, the existence of the Cybermen is played as something of a reveal at the end, but it also works as ‘just’ the reveal that Bill has been converted, and there’s dramatic irony in the viewer knowing what those cloth-headed patients are destined to become. The Master spoiler is more of a problem. The prosthetics turning Simm into Razor are impressive, and even fooled some people who knew he was back… for a bit. I’m sure most people must’ve guessed before the episode ended. It therefore becomes a distraction: what’s his plan? When will he reveal himself? And when the big reveal does come, it’s played as a twist, which it isn’t because we were told about Simm three months ago. Moffat has said before that it was entirely his decision to put Simm in the trailer, and it’s clear it was a misstep. Not a fatal one — World Enough and Time is strong enough to withstand it — but a shame. Can you imagine the reaction if we hadn’t known?

    So with the Master finally revealed at episode’s end, he teams up with Missy for the first multi-Master story ever in the extended finale, The Doctor Falls. With a lot of business to attend to, this isn’t quite as striking as its first part. Nonetheless, there’s strong material here. Missy and the Master are a hoot, the pairing of Simm and Michelle Gomez working exactly as well as you’d hope. Their storyline comes to a very fitting conclusion, too. The way Moffat handles Bill being a Cyberman, how she feels inside and how people react to her, was an original use of a well-worn villain. Her possible-departure was fitting too, tying appropriately back to her debut episode. Moffat buried a way for her to return in the dialogue, which hopefully Chibnall will pick up because Bill has been absolutely fab. It would be a real shame if this is the last we see of her. The Doctor FallsAs for the other current Capaldi companion, there was an almost touching exit for Nardole, a character Matt Lucas has managed to imbue with much more likability than was promised in his initial appearance a couple of Christmases back. Finally, Peter Capaldi was in as fine fettle as ever, getting to deliver a few more of his iconic speeches, before going out with a heroic last stand.

    Well, not quite going out, because we have that exciting cliffhanger to lead us into the Christmas special. With such a promising setup, let’s hope Moffat can stick the landing. We’ll find out on December 25th…

    The Americans  Season 5
    The Americans season 5The best show on television” returns for its penultimate run. It’s currently mid-way through here in the UK (where it’s really, really buried on ITV Encore, more’s the pity — it deserves a bigger audience) so I’ll be extra careful to avoid big spoilers. It’s an interesting run of episodes, though: low-key, in their way; slow-paced, even by the standards of current high-quality TV. That’s not to say it’s without merit, but it’s rewarding of long-term investment more than ever. In truth, it may be the show’s weakest run, but that’s very much a relative assertion. There’s a lot of groundwork being laid here, probably the downside of them getting a two-season to-the-finish recommission — these are episodes 1 to 13 of 23, not 1 to 13 of 13.

    Still, as I said, it’s most decidedly not without merit, it’s just that the drama is very much internalised into the characters. A lot of it is about Philip and Elizabeth becoming increasingly tired of their life — the toll that all the killing and lying takes. That’s not exactly something new for Philip, but is he reaching breaking point? And to see Elizabeth beginning to struggle too really rams home how tough it is. Indeed, the detrimental effects of this lifestyle are felt across all the storylines and returning characters, as people on both sides come to doubt the justification of their respective causes. Is someone going to snap and betray their country?

    Although the season starts (and, in some cases, resolves) plot lines of its own, ultimately the big underlying thread is (picking up from last season) the debate about how, when, and if can they go home to Russia. The kids are a big factor: Paige is still being initiated into the realities of their cause, but Henry is off building a life of his own, now more than ever. At the same time, we’re shown how difficult it is for other people to adjust in similar circumstances, including Russians who’ve defected to America with their kid. These kind of storylines could be heavy-handed parallels on other shows, but The Americans unfurls them gradually and carefully and subtly enough that you come to see it for yourself rather than the show screaming at you to notice the mirroring.

    Not the most dramatic run, then, but this deep in I think it’s earnt our trust that they’re going somewhere with it all. It’s also earnt our investment in the characters to the extent that it can base storylines about their internal struggles rather than just exciting espionage stuff. It’s clearly been a not-for-everyone season (reviews are largely positive still, but there are more dissenting voices) but there’s still quality in spades. And it’s still completely unpredictable how it’s all going to wind up next season.

    Twin Peaks  Season 3 Episodes 7-8
    In its 7th episode, the new Twin Peaks suddenly delivered a surfeit of story, forging ahead with actual plot developments in several of its disparate storylines. It was almost bizarre. It was good. Heck, some of the scenes were incredible. Laura Dern is perfect here. So did this mark a turning point? Was the series finally getting stuck into the meat of the story? Well, as it turned out, no. Not at all. Indeed, perhaps David Lynch was just pre-trolling us, in his own way, because Part 8…

    Twin Peaks Part 8I don’t know if it was the reaction across the board, but on Twitter the reception the 8th episode received was adulatory to the nth degree. Having given us massive developments and beloved characters just one episode before, suddenly we were in a different era, in black and white, with mostly unknown characters, and a narrative conveyed through Lynchian visions rather than traditional storytelling. It made some kind of sense… some of it… in the end… but you certainly had to stick with it. Some of it was incredible — the tracking shot into the mushroom cloud is, somehow, almost inexplicably, one of the greatest shots of all time; an instant classic. But other bits… they did go on rather. I’m not one of those people who wishes the new Twin Peaks was a pure nostalgia fest, all repetition of famous lines and quirky goings on in the Double R over cherry pie and coffee, but I also think Lynch’s indulgence has run a little too rampant. Much of his surrealist imagery works if you’re prepared to engage with it, but I also think much of it doesn’t need to go on for as long as it does. There’s a difference between a slow pace and no pace.

    So, I don’t really think Part 8 is a total revolution in television and one of the greatest episodes of all time, as some people do. For one thing, the opening stuff with Evil Cooper and the Nine Inch Nails performance felt like it belonged at the end of the previous episode but had to be moved for time. It was certainly an experience, though, I’ll give it that. I just hope it’s one that all makes sense in the end…

    Preacher  Season 2 Episodes 1-2
    Preacher season 2After a sometimes uncertain but ultimately promising first season that was, really, all prologue to the main story, Preacher returns with a confident bang, filled with unstoppable cowboys, exploding SUVs, Maced testicles, intestinal fuel syphons, baby foreskins, and Come On Eileen — and that was just the opening ten minutes. Shows like Legion, American Gods, and, especially, Twin Peaks may have been duking it out for the title of craziest series on television these past few months, but there’s nothing quite like Preacher.

    With our trio of heroes — a Texan preacher with the power to make anyone do what he says, his badass girlfriend with a criminal past, and a rough but charming Irish vampire — now on the road, the series itself also feels free of the shackles of the first season’s small-town setting. We’re let loose into a world that can equal the barminess of the leads. A world where we meet a friend who keeps a girl locked in a cage in his garage (for good reason); where you can see a man cheat death nightly at the Mumbai Sky Tower Resort and Casino; where a drug-fuelled binge of pillow-fighting and reading Archie comics can solve your woes; where God goes to a strip joint for the jazz…

    Sadly, you can’t really jump in here — too much was established in season one — but the ongoing unpredictable zaniness makes it worth the investment to reach this point, in my view. And with some fan-favourite characters just around the corner, hopefully it’s gonna be a helluva season.

    Also watched…
  • The Persuaders! Series 1 Episodes 6-13 — it’s funny watching this in production order (as it is on the DVDs), because it seems pretty clear they blew the budget sending the cast around Europe for the first few episodes — all the exotic locations are being done with back projection by this point.

    Next fortnight… winter is here.

  • The Past Month on TV #18

    One-third of it has happened again…

    Twin Peaks (Season 3 Episodes 1-6)
    Twin Peaks season 3 UK posterWhen the return of Twin Peaks was announced with the tagline “it is happening again”, I think everyone assumed it was, at worst, just an echo of one of the series’ famous lines which happened to work well for a revival; or, at best, an indicator to the plot — that the strange, sometimes otherworldly events of the original series were about to reoccur. As it’s turned out, perhaps what the tagline is most applicable to is the series’ effect: 27 years ago, Twin Peaks pushed new boundaries for what could be done on television, and the medium as a whole spent a couple of decades catching up. Now, rather than merely return to what he did all those years ago, as most revivals do, co-writer/director David Lynch is once again pushing at the boundaries of what’s possible or acceptable on mainstream(-ish) television. If “it” is “David Lynch being way beyond everybody else”, then it is indeed happening again. If you were after a comforting pile of references, callbacks, reflections, and imitations of the original series, you’re going to be disappointed — as one or two critics have been. If you were after something new in the weird world of Twin Peaks, well, step on up.

    Before the series aired, Lynch said that prequel movie Fire Walk with Me would be important to understanding what’s going on. As much as it’s possible to understand what’s going on in the new Twin Peaks, that’s very true — there’s a ton of stuff touched on that wasn’t part of the series. Tonally, too, this is much more aligned with the movie: there’s a brand-new murder investigation; it’s set largely outside of Twin Peaks itself; and some of the biggest moments are based more around emotional resonance than strict storytelling necessity. It’s also sometimes reminiscent of The Missing Pieces, or what Fire Walk with Me would’ve been if they had remained included, as it shoots off on scene-long tangents that don’t seem to connect up to anything else. Some people are assuming it will all make sense and come together eventually, but based on how many of those Missing Pieces went nowhere, I’m not convinced it will.

    Evil CoopIt’s also been widely reported that Lynch and co-creator Mark Frost wrote a single 400- or 500-page screenplay, shot it all, then chopped it up into 18 episodes in the edit. This I can very much believe. Individual episodes are almost shapeless as hours of television, and plot threads disappear for several episodes at a time, only to crop back up as if we’d never been away. While many series these days boast they are “actually an X-hour movie”, they still often function as individual episodes — they may not be completely standalone, but the shape of each hour, the way they’re paced and build to a cliffhanger, and so on, is episodic. Twin Peaks, however, feels like it means it — no doubt the legacy of Lynch’s production methodology.

    Because of this, it feels tailor-made for binge-watching, except Lynch himself requested that it be released weekly, reportedly because he didn’t want to spend three years making something only for people to polish it off in a weekend. I can understand that position, but given the pace of the series, I can’t help but feel it would be better binged. When it’s over, a lot of viewers are going to remember the Dougie Jones material as a long, slow trudge, possibly putting it on a par with some of the worse plotlines from the middle of season two, and that would be ameliorated slightly if it could be consumed across a few consecutive hours rather than several weeks (or, possibly, months). Of course, I’m not sure Lynch cares about that. He may be planning something different altogether. What that plan is, maybe we’ll never even know.

    Damn good coffeeSome five-and-a-half hours into this 18-hour movie, Dougie hands his boss a stack of files. The boss slowly looks through them one by one, baffled by the seemingly senseless doodles Dougie has scrawled all over the pages. But after a while he begins to see a pattern, and comes to understand something. In the end he thanks Dougie. Dougie, as ever, looks blank, before doing a failed imitation of being a normal human being. Is Lynch deliberately setting out to say that he is Dougie and we are Dougie’s boss? That all of us are taking a long, slow look at Lynch’s indecipherable doodlings until we eventually discern some meaning. Or is it just a scene in Lynch’s world that we can coincidentally project that interpretation on to? As ever with David Lynch, I’m not quite sure.

    Doctor Who (Series 10 Episodes 6-9)
    Doctor Who series 10 part 2Well, I suppose it was too much to hope it would last. The most consistently great season of Doctor Who in over half a decade threw it all away with a frustratingly variable trilogy of stories (note: not a three-parter — this pedantic old-school Who fan insists we observe the difference). It all began with Extremis, which starts strong with a decent mystery (there’s a book in the Vatican library that causes anyone who reads it to commit suicide) and some good humour (Bill’s interrupted date), but increasingly becomes a lot of running around to delay the reveal. It’s a non-story pretending to be a story, basically. I don’t even care that it basically has an “and it was all a dream” ending. In fact, writer Steven Moffat found a way to make “and it was all a dream” work, which is a rare and miraculous thing. But the episode that leads to that ending doesn’t do enough heavy lifting to support it. A waste.

    That leads, sort of, into The Pyramid at the End of the World, where the Monks — who were technically the villains in Extremis — actually commence their invasion of Earth. This is where the trilogy is most clearly a trilogy rather than a three-parter: Extremis is a prologue to Pyramid, not a vital component of it. Again, it’s a frustratingly imperfect episode, with some ideas landing very well and others feeling hurried or ill thought through. Like, it’s neat that the Doctor’s hubris in hiding his blindness ultimately becomes his (and everyone else’s) downfall, but the hoops the show has to jump through to make this work get in the way.

    That leads to The Lie of the Land, which could justifiably be classed as part two of a two-parter — Pyramid ends with a direct cliffhanger, Lie deals with it, albeit in an atypical way because it’s now months later and there’s a new set of problems. It suffers from the same problems as the first two instalments, however, in that it’s regularly disingenuous. The opening act, with Bill and Nardole attempting to rescue the Doctor, who’s working with the Monks, feels like a massive sequence designed to provide some shocking moments for the trailer — again, the internal logic is not completely wrong, but is slightly off. Same with the “love conquers all” ending. It’s a potentially powerful message, but the episode doesn’t invest enough in making it work. It also squanders the successful invasion / 1984-esque dystopian world it sets up, which is a pity because I don’t imagine Who will re-attempt the same milieu anytime soon.

    So, it’s a run of three almost-there episodes, which sadly undercuts the quality displayed in the first five episodes. They’re not bad per se, but they’re wasteful. Though, that said, I’ve developed a strong dislike for Extremis after some people went head-over-heels for it. No. It’s not good.

    I only speak the truth

    Finally this month, Mark Gatiss writes for the series for the ninth (and possibly final — we’ll see) time in Empress of Mars. I like the Ice Warriors; I don’t dislike Gatiss’ episodes in the way some people seem to — I’d say he’s more-or-less 50/50 on really good ones / not very good ones. Empress basically straddles that divide. There’s strong imagery with the Victorian soldiers on Mars, and the seeds of some nice thematic material in issues of honour and cowardice, and what actually characterises either. Unfortunately they’re not allowed to grow properly, the episode wasting time on silly business like the TARDIS flying off for no reason when it should be developing the Victorian soldiers beyond shallow archetypes. Like the three episodes before it, it feels like the necessary time wasn’t devoted to polishing these episodes; to making all the decent ideas they exhibit coalesce in the most effective way possible. It’s a shame.

    Still, the season isn’t a write-off yet. These four episodes may have underwhelmed, but there are promising ideas to come in the remaining three instalments.

    The Kettering Incident (Season 1)
    The Kettering IncidentIn a remote small logging town where everybody knows everybody else, a teenage girl, who’s secretly into drugs and partying and is the daughter of a prominent local man, goes missing under mysterious circumstances in the creepy woods, which have a history of possibly-supernatural strangeness… Yes, this is the Australian answer to Twin Peaks — a comparison I have perhaps unfairly amped up with that description. It’s more about Anna Macy (The Night Manager’s Elizabeth Debicki), a London doctor who has been getting strange black outs since she was a child, when she lived in Kettering and her best friend disappeared after they saw mysterious lights in the woods — the “incident” of the title, in which some believe the other girl was abducted by aliens. Now she’s returned home and, as one character literally says (as a deliberate or accidental homage to Peaks, I’m not sure), “it’s happening again.”

    Sadly, The Kettering Incident lacks the quirky charm of classic Twin Peaks, but neither does it have the balls to be as bold as the new one. (I’m not sure anyone bar David Lynch has those balls, so perhaps that’s an unfair comparison too.) It’s more like The X Files crossed with Top of the Lake — both series I enjoyed, but not on the same level as Peaks. (Well, maybe X Files was in its prime. I need to watch it more thoroughly, to be honest.) Where Peaks started out looking like a small-town murder mystery and gradually mixed in undeniably fantastical elements, Kettering has them in from the start, with the UFO stuff. Will that be explained away by something normal and earthly? Well… that’d spoil it. Though it’s worth noting that, despite looking like a miniseries, Kettering is nothing of the sort: it ends with some answers, but even more questions, and it’s clear a further season (or, according to some sources, two) is needed to actually explain everything.

    Stranger thingsPersonally, I want to know what the hell is meant to be going on, but the finale felt a lot like weak sci-fi to me and I’m not sure the answers will be worth it. I have that same hot/cold feel about the series as a whole: whenever it’s actually in front of my eyes I become engrossed, invested, and enamoured; but within hours of it finishing I feel a kind of indifference creep in. I can’t really explain why. It’s probably not a fair reaction.

    Not a glowing recommendation, then. However, if you’re looking for something else that plays in Twin Peaks’ tonal ballpark, although it’s surely just a pretender to the throne, there are certainly worse.

    (As a side note, it’s brought to my attention that Tasmanian Gothic is a thing. Colour me intrigued.)

    Also watched…
  • Arrow Season 5 Episodes 21-23 / The Flash Season 3 Episodes 21-23 — oh no, Barry Allen’s trapped in the Speed Force and most of the cast of Arrow died (off screen)! How will either show be able to go on without such major characters?! (Or: why bother with cliffhangers that are so extreme they can’t possibly stick? Though they may actually be planning some kind of cull on Arrow, considering the cast is now so large that they can’t afford to have every regular in every episode.)
  • Cowboy Bebop Season 1 Episodes 23-26 — as news comes in that the US remake is moving ahead for TV, I’ve finally finished the original series. Now to make time for the movie.
  • General Election 2017 — quite unplanned, I ended up watching election coverage for 25 hours straight (well, with breaks for a couple of hours’ sleep, and just one or two other things). I’m not sure I learned much I couldn’t’ve got by just reading updates every few hours, mind.
  • Grantchester Series 3 Episodes 4-6 — in which the lead character almost resigns from his job because it won’t let him be with the woman he loves, but ultimately chooses the job over her because how else are they going to have a fourth series?
  • Jamestown Series 1 Episodes 2-3 — not bad, but I didn’t find it especially compelling either. As noted last time, the writing was the problem. With so much stuff to watch nowadays, it wasn’t worth another five hours of my time.
  • The Persuaders! Series 1 Episodes 1-5 — they don’t make ’em like this anymore! They should though, because it’s such fun. RIP Messrs Moore & Curtis.

    Things to Catch Up On
    Poldark series 3This month, I have mostly been missing the start of the third series of Poldark. Well, I’ve not even watched series two yet. I also still haven’t started American Gods, the finale of which is here on Monday. I guess that can go on the finished-and-ready-to-binge pile beside Westworld and Legion (and goodness knows what else), then.

    Next month… as if TV wasn’t crazy enough right now, Preacher’s back. Plus: The Americans season five.

  • The Blue Rose Monthly Update for May 2017

    What does it mean?

    Twin Peaks' blue rose

    What does it mean?!


    #63 Nightcrawler (2014)
    #64 Independence Day: Resurgence (2016)
    #65 Four Lions (2010)
    #66 Blair Witch (2016)
    #67 Twin Peaks: Fire Walk with Me (1992)
    #68 Twin Peaks: The Missing Pieces (2014)
    #69 Alien: Covenant (2017)
    #70 Twin Peaks (1990), aka Twin Peaks: Pilot (International Version)
    #71 Pirates of the Caribbean: Salazar’s Revenge (2017), aka Pirates of the Caribbean: Dead Men Tell No Tales
    #72 Underworld: Blood Wars 3D (2016)
    #73 The Accountant (2016)
    #74 A Matter of Life and Death (1946)
    #75 New Tale of Zatoichi (1963), aka Shin Zatôichi monogatari
    Nightcrawler

    A Matter of Life and Death

    .


    • 13 new films watched this month. That’s the same as April, though slightly down on the 2017 average (15.5, now exactly 15).
    • This is the 36th consecutive month where I watched 10 or more new films — that’s three solid years since a month with nine or fewer.
    • By the end of May last year I’d reached #101, the earliest I’d ever passed 100. This year I’m on track to do it in July, which would equal 2015 for second-earliest.
    • Does that indicate anything for my final total? Well… no. The last two years prove that conclusively. Looking at the end of June (i.e. the halfway point), in 2016 I’d reached #115, but, rather than make it to #230, I ended the year at #195. However, in 2015 I finished June at just #90, but, rather than stop at #180, I got all the way to #200.
    • Back to the here and now, I had a bit of a franchise frenzy this month: including my rewatchathon (see below), I watched two Prometheuses, two Underworlds, five Pirates of the Caribbeans, and made five feature-length trips to the world of Twin Peaks (the three films above and the opening double-bills of the new series, of course).
    • This month’s Blindspot film: the fantastic British fantasy romance A Matter of Life and Death, a film which, if anything, is underrated. It’s certainly in need of a UK and/or US Blu-ray release.
    • This month’s WDYMYHS film: Jake Gyllenhaal gives an incredible performance in neo-noir thriller Nightcrawler, which UK readers still have a few days left to catch on iPlayer.



    The 24th Monthly Arbitrary Awards

    Favourite Film of the Month
    Not a bad month, but my shortlist of favourites quickly came down to two (see the posters accompanying the viewing list). For me, the edge goes to the aforementioned neo-noir starring Jake Gyllenhaal, Nightcrawler. You can read my full review here.

    Least Favourite Film of the Month
    This also quickly came down to two options, both of them ’90s franchise revivals that disappointed. I feel like it’s “more fool me” for expecting anything good from ID4-2, but I felt like the early buzz and behind-the-scenes pedigree of Blair Witch should have delivered. I’m still a bit excited for Adam Wingard doing Godzilla vs. Kong, though.

    Worst Retitling of the Month
    Salazar’s Revenge may be less evocative than Dead Men Tell No Tales (though, arguably, more relevant to the actual movie… but only a bit — that film’s busy with plots), but don’t worry, Pirates 5, you’re safe when this clanger’s about: the beautiful A Matter of Life and Death was bluntly renamed Stairway to Heaven in the US thanks to its main special effect. And you thought US cinema’s monomaniacal focus on effects movies was a recent thing.

    Biggest Unanswered Question of the Month
    How is Annie?!

    The Audience Award for Most-Viewed New Post of the Month
    Guardians of the Galaxy Vol. 2 and the new Pirates of the Caribbean may have both walked all over it at the box office, but it seems people were much more interested in what I had to say about Alien: Covenant. Guardians 2 did come second, but it was with precisely 25% as many views.



    May turned out to be my best Rewatchathon month so far, nearly doubling the number of films I’ve revisited this year. As you can see, a lot of that was actually thanks to new movies that were coming out…

    #9 Back to the Future (1985)
    #10 Prometheus 3D (2012)
    #11 Pirates of the Caribbean: The Curse of the Black Pearl (2003)
    #12 Pirates of the Caribbean: Dead Man’s Chest (2006)
    #13 Pirates of the Caribbean: At World’s End (2007)
    #14 Pirates of the Caribbean: On Stranger Tides 3D (2011)
    #15 Underworld Awakening 3D (2011)

    Well, whatever works.

    Anyway, I’m still not on track for where I should be (an average rate of 4.3 films per month means I should be at #22 by now), but I’m a lot closer than I was.


    Inevitable disappointment in the general election. (Rest of the world: we’re having an election, did you know? Apparently you’ve not noticed. Nor should you, really.)

    As for cinema, well, the big new films include that Tom Cruise Mummy movie and the new Transformers.

    I’ll pin my hopes on Blu-ray, then…

    Twin Peaks: The Missing Pieces (2014)

    2017 #68
    David Lynch | 91 mins | Blu-ray | 1.85:1 | USA & France / English | 15

    Twin Peaks: The Missing Pieces

    When Twin Peaks: Fire Walk with Me was released in 1992, one of the things that disappointed fans was the absence of many of Twin Peaks’ beloved characters. A few of those absentees were due to scheduling conflicts or behind-the-scenes disagreements, but others were shot and left on the cutting room floor. Rumours circulated for years (still do at times) that David Lynch actually shot five hours of material, only two-and-a-quarter of which made it into the final cut. However, as early as ’92 itself, co-writer Robert Engels stated that the first cut ran 3 hours 40 minutes, adding that they hoped to put that extended version out on LaserDisc. Such a release never happened, and fans were left wanting. Campaigns were launched to get the deleted material on DVD, but there were issues with who held the rights, and then Lynch was only prepared to release them if they had been properly mastered and finished to theatrical standard.

    Finally, after over two decades of waiting and hoping, the stars aligned and the series’ Blu-ray release was accompanied by those long-awaited scenes. Dubbed “The Missing Pieces”, there were 90 minutes of them — which, you’ll note, when added to the 135-minute film more-or-less equals the 3 hours 40 minutes Engels promised back in ’92. It’s also basically another movie’s worth of material; and, indeed, there were limited theatrical screenings as part of the promotion for the Blu-ray — hence why this counts as a film (look, it’s on IMDb and everything).

    Diane, it's 9:27am and I am stood in your doorway blowing you a kiss...

    Still, The Missing Pieces may just sound like an uncommonly long selection of discarded bits, same as most DVD deleted scene sections, but there’s more to it than that. There’s quality material here — even, some people say, some of the best scenes in the entire Twin Peaks canon. In fact, some people even reckon it stands confidently as a second Twin Peaks movie, albeit one that depicts events that occur concurrently to the existing film. Well, I don’t think I’d go quite that far, but there’s definitely more to this than a couple of missing lines or amusing asides.

    The fact it isn’t a standalone work is evident from the off, which begins like a traditional deleted scenes package: a collection of context-free bits-and-pieces of FBI Agents Chet Desmond and Sam Stanley in the town of Deer Meadow. These go on for about ten minutes, including a bout of fisticuffs between Desmond and the uncooperative local sheriff that was a very wise removal from the final cut. These early scenes make it instantly clear that The Missing Pieces is a companion to Fire Walk with Me and needs to be watched alongside it, not a unique entity that’s capable of holding its own. These are “Missing Pieces” indeed, not “Meanwhile Pieces”.

    That said, the interest level of the material increases quite quickly. There’s a scene between Stanley and Agent Cooper that doesn’t add a great deal to the story but does again reference the mysterious blue rose — was Lynch intending to go somewhere with that, or not, hence why the scene was deleted? It has a prominent place on the Blu-ray packaging, too… There’s also more David Bowie, though it doesn’t make his part a whole lot clearer. On the bright side, it includes a Buenos Aires hotel bellhop delivering the immortal line: “Oh, Mr. Jeffries! Oh, the shit, it come out of my ass.”

    Oh, the shit, it come out of my ass.

    As things move on to the Twin Peaks-set portion of the tale, we get what the fans really wanted: not mere odds and ends that were removed to expedite the plot, but bits featuring fan favourite characters. Whether the scenes are important or not is another matter, but it must’ve been great to see new material featuring some beloved characters. (I’m glad I’m only watching this now, when this is all available and there’s a new series with new answers on the horizon, rather than having had to endure the wait.)

    That said, in the scope of the story Fire Walk with Me was telling, all of the townsfolk deletions make sense. There are a couple of scenes of Big Ed and Norma’s romance that help set up where they were at the start of the series, but it has little or no relation to Laura. Even less relevant is a scene at the sawmill showing Josie and Pete arguing with a customer over the size of a 2×4. It’s utterly pointless, the only possible reason for its existence to be to shoehorn those characters into the movie, and therefore it was an eminently sensible deletion. The same goes for scenes at the sheriff’s station, which felt like they had greater relation to the actual story of Fire Walk with Me but I still couldn’t quite make head nor tail of.

    It’s not all townsfolk asides, however: there are more scenes with Laura, too. One at Donna’s house shows Dr Hayward being kind towards Laura, seemingly the only man in the entire town who treated her appropriately. That might’ve made a nice counterpoint if left in the movie. Similarly, there’s a scene of domestic bliss in the Palmer household, where Leland, Sarah and Laura practise speaking Norwegian round the dinner table and end up in hysterics. That would’ve made a nice mirror to the later dinner table scene where Leland goes all creepy.

    How's Annie?

    As you’d expect from a deleted scenes section, but in opposition to what some people claim about it, The Missing Pieces is a collection of just that — pieces; fragments divorced from their whole. It’s definitely an experience aimed squarely at fans, then, but that doesn’t mean it’s not one worth taking for the initiated.

    It all ends with an epilogue — a couple of scenes that, for the first time, move beyond the end of the series’ finale. Again, how utterly thrilling it must’ve been to finally get such a continuation over twenty years later. In the first, we catch up with Annie in the hospital, where she repeats the statement her bloody possibly-corpse (though, as we can see, not a corpse) made in Laura’s bed. It also turns out she has the ring… until a nurse pilfers it. Then we cut to the Great Northern, where Coop’s just smashed his head into the mirror. He stages it as an accident when Harry and Doc Hayward rush in to help him, and they insist he returns to bed to rest.

    And that’s it.

    3 out of 5

    Or that was it, because tonight it’s 25 years later and that gum you like is going to come back in style.

    It is happening again.

    Twin Peaks: Fire Walk with Me (1992)

    2017 #67
    David Lynch | 135 mins | Blu-ray | 1.85:1 | USA & France / English | 15 / R

    Twin Peaks: Fire Walk with Me

    This review contains major spoilers for both Twin Peaks and Fire Walk with Me.

    When Twin Peaks was cancelled, co-creator David Lynch quickly realised he wasn’t done telling stories in that world — probably because he’d just ended the TV series on a massive cliffhanger, having only recently refocused his attention on the show after a period of absence. Within a month of the series’ end, he’d secured a deal to produce a big-screen continuation. Along with one of the series’ lead writers, Robert Engels, Lynch cooked up a plan for a trilogy of movies that would explore some of the series’ leftover mythology — primarily, the mysterious and otherworldly Black Lodge. The first of these movies would begin by revisiting the aspect of Twin Peaks that had brought it so much attention in the first place: the murder of Laura Palmer.

    Unfortunately, Lynch had misjudged the public’s appetite — or, more likely, didn’t particularly care about that, but nonetheless what people wanted didn’t line up with what Lynch made. The resulting movie, Twin Peaks: Fire Walk with Me, was not a success. For fans of the TV programme, the tone didn’t match, most of the regular cast didn’t appear, and, on the surface at least, it was a story about events they already knew, rather than a resolution to the series’ cliffhanger. For non-fans, it didn’t seem to stand alone in the way a ‘proper’ movie should. Lynch had won the top prize at Cannes just two years earlier, but now the screening of Fire Walk with Me was booed; so was the press conference. Reviewers were similarly unimpressed. The film flopped at the box office. The intended trilogy stalled with its first instalment, and Fire Walk with Me went down as a poorly-regarded failure, unquestionably one of Lynch’s worst films.

    Lady in red (room)

    Well, opinions change. Nowadays you’re just as likely to see someone contend that Fire Walk with Me is the pinnacle of Lynch’s career as you are to see someone express the view it’s his nadir; perhaps even more likely. From what I can gather, a quarter-of-a-century’s distance has allowed people to become more understanding about what it was Lynch was actually trying to achieve with the film; that it is, despite what the title might lead you to believe, as much “A David Lynch Film” as it is “A Continuation of The Popular Mainstream TV Series Twin Peaks”.

    In both of these respects, there’s an awful lot to unpack. It’s a continuation and expansion of the ongoing Peaks story (and certainly not a conclusion to it), with pieces that lead up to Laura’s murder, pieces that expand on or continue stuff from the series finale, as well as brand new mysteries and puzzles. Simultaneously, it stands on its own two feet as a depiction of — and, in its use of horror, allegory for — the terrors of domestic psychological abuse and incest. And before all that it starts with a half-hour prologue in which a cast of character we mostly don’t know investigate a murder that die-hard fans might just about recall from its fleeting relevance to the series’ earliest episodes. And David Bowie turns up for a bizarre cameo that goes nowhere. In many respects, Fire Walk with Me is not an easy movie.

    It is a rewarding one for those prepared to dig into it, however. Again, that applies to both levels the film is functioning on. It may not directly continue after the events of the series, but there are a couple of hints and nods towards the events of the finale and what happens next, as well as a lot of general additions to the mythology. And as a films about abuse, it’s not just a depiction of events, but is attempting to in tap into how that actually feels, psychologically — as Lynch has said, it’s about “the loneliness, shame, guilt, confusion and devastation of the victim of incest.” It must do this successfully because Sheryl Lee has said that, “I have had many people, victims of incest, approach me since the film was released, so glad that it had been made because it helped them to release a lot.” Bravely, it’s also a bit about the abuser, presenting him with, if not sympathy, then some degree of understanding — to quote Lynch again, it deals with “the torment of the father – the war within him.”

    Happy families

    One thing that straddles both sides of the film, I think, is that It goes a long way to ‘redeeming’ Laura Palmer. In the series she’s the all-American good girl homecoming queen who we quickly learn wasn’t so good under the surface, spending her time partying hard with drugs and promiscuous sex. At one point it seems like she was just a wild child who got in too deep. Now, I forget if the series eventually made clear that she let herself be murdered in order to stop a malicious demon from possessing her, but, even if it did, it’s a few lines of dialogue. Here, we see the real, severe struggles she was battling while trying to maintain some kind of normal life, and how hard she fought against them. She was, actually, just an ordinary girl, forced to face extraordinary circumstances.

    Conversely, this is almost exactly why some people disliked the film: because it took how Laura Palmer appeared in the series, as kind of a notion or concept that the town projected their values and issues onto, and made her into a real person, who was consequently as messed up as most teenagers are. Essentially: Laura Palmer was more interesting dead than alive. I have two thoughts on this. One: Laura wasn’t exactly leading a normal life, so there’s definitely something in seeing how she ended up how she did; what her psychological state was like. Two: perhaps it’s entirely the point that the reality and the legend (particularly the legend built around someone tragically cut down too young) are not the same thing; that the reality is not as great as the notion. That sounds like a particularly Lynchian theme to me.

    All of this added depth to Laura is driven by a remarkable performance from Sheryl Lee. Originally cast to play a corpse and a photograph, Lynch liked her so much they created a role for in the series (as Laura’s lookalike cousin Maddie), and she gets an even meatier role here. Even though viewers of the series already know the answers that Laura only discovers during the film, Lee’s performance is so powerful, particularly when enacting fear or terror (no one instils fear in the viewer quite so well as Sheryl Lee looking terrified by something off camera that we never see), that we are horrified along with her. There’s also a power in seeing something play out that we’ve previously only been told about — the reality of it happening is more horrendous than the facts we’ve heard.

    LAWNa Palmer (get it?)

    This is partly why Fire Walk with Me has a distinctly different tone to the series (which, as noted, probably didn’t help win people over). It’s still full of quirky surrealism, of course, because it’s a David Lynch film; but the lighter, funnier, chirpier elements have all been excised. This is a dark, dark movie. One suggestion I’ve read from a fan is that the TV series was from Agent Cooper’s point of view, hence it emphasised the small-town charm and optimistic worldview, while the film is from Laura’s perspective, so it’s altogether grimmer and more fatalistic. This may not have been deliberate on the part of Lynch and co, but it certainly makes some kind of sense.

    Which road the imminent Twin Peaks revival will walk, obviously no one outside of the production yet knows. But the other week it was widely reported that Lynch had said Fire Walk with Me would be essential to understanding the new series. I think some people who surprised by this — the vestiges of the film’s original negative reception, perhaps — but, having just watched the film, it feels like a bit of a “well, duh” statement. Fire Walk with Me is often summarised as being just “the last seven days of Laura Palmer”, which makes it sound like it’s wholly related to a mystery that was wrapped up in the original series. It’s more than that, making huge contributions to the series’ ongoing mythos, as well as a couple of hints about events in and after the original finale — unless those were going to be completely ignored by the new series (which doesn’t sound like Lynch to me, not to mention that it would surely irritate fans), then of course Fire Walk with Me is important!

    One thing that’s probably never getting explained is that Bowie cameo. His character was one of the things inserted by Lynch and Engels to build on in the proposed sequels — yes, rather like all those films that adapt the first novel of a series and fill it with foreshadowing, assuming they’ll get to make the rest, but never do. Reportedly Bowie was lined up to appear in the revival, but died before he could film any scenes. Whether that particular mystery will be explained some other way, or be left forever as a dangling thread in Twin Peaks’ complex web, obviously remains to be seen. So too the disappearance of Agent Chester Desmond, as actor Chris Isaak isn’t part of the extensive cast list they’ve announced. But then, maybe they’re keeping some secrets there too…

    He's here to blow our minds

    There’s so much more that could be said about Fire Walk with Me. About ‘fake Donna’, for instance — actress Moira Kelly standing in as Laura’s best friend, Donna Hayward, because original actress Lara Flynn Boyle was unavailable — and how there’s a camp of people who think she might actually be better than the original (me included). About the significance of time (there’s a definite clock motif; several clear references in dialogue; it’s technically a prequel but with sequel pieces; there’s definitely a few bits of time travel going on; and so on). About the Lil scene, which may or may not be a dig at over-analytical fans; indeed, that whole prologue is like some kind of inversion of Twin Peaks. About the Pink Room sequence and its seedy artistry. About the interpretation that Bob is a shared fiction, concocted by both Leland and Laura to help that pair of troubled souls deal with the horrors they’re living through (you may think Leland deserves no sympathy, but the series made it fairly clear that he had been a victim of abuse himself…)

    Fire Walk with Me is so many different things all at once that it’s almost a mess of a film. But Lynch knows what he’s doing, if not entirely then at least to a significant degree. Plus it only becomes more interesting and complex as you continue to think and read about it after viewing. Perhaps, after the new series, it will slot into place even better, and its significance in the overall scheme of Twin Peaks will become even clearer. Maybe its critical rehabilitation has a few steps left to take yet…

    4 out of 5

    Tomorrow: the missing pieces.