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    VOD: Guitar Joe plays 100 of the best TV Tunes in 11 minutes

    What’s more comforting than the theme song from your favorite television show? In the video below, courtesy Reverb.com, a guitar wizard identified only as Joe plays 100 TV theme songs in just 11 minutes, making seamless transitions in between each. He starts with Looney Tunes and ends with the theme from Game Of Thrones. In […] More

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    Twin Peaks, Ep. 2.20, “The Path to the Black Lodge”

    As season two of Twin Peaks winds down, it has narrowed its focus and it is on love, and the likelihood that it may not be enough to conquer evil. Indeed, when Major Briggs is given some kind of truth serum by Windom Earle and Earle asks what he fears most in the world, Briggs responds, “The possibility that love is not enough.” Not for anything specific, just not enough. More

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    Twin Peaks, Ep. 2.18, “On the Wings of Love”

    At first, Harry’s hangover is a funny running gag in this episode, as several different characters give their opinions as to the best cure for one, from Cooper’s attempt to make Harry throw up to Annie’s “teetotaling and prayer”. It becomes such a plot point, however, repeatedly brought up and emphasized with a tongue-in-cheek attitude, that it takes on a deeper meaning. More

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    Twin Peaks, Ep. 2.17, “Wounds And Scars”

    Of the many sins committed by the plots of Twin Peaks season two, the most egregious of them is that they destroyed the sense of unity that held the show together at the outset. Without Laura Palmer to serve as a central story element, characters lost their excuse to interact with each other More

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    Twin Peaks, Ep. 2.15, “Slaves And Masters”

    “Slaves And Masters” is an episode of Twin Peaks that’s ripe with the feeling of change. The plots that the show spent too much time on over the last few episodes are finally drawing to a close, and the mysterious figures—Windom Earle, Thomas Eckhardt, Andrew Packard—are emerging from the shadows. More

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    Twin Peaks, Ep. 2.14, “Double Play”: A clash of tones

    One of the most successful things about Twin Peaks was its uniquely seamless ability to balance the dark and the light. Thanks largely to the competent handling of David Lynch, the series has become known for both its horrifying and surreal moments as well as its goofy humour, and for the unparalleled way (at least for a time) it could flit between them, combine them, and manipulate them. One single scene could be simultaneously terrifying and chuckle-inducing, and it became up to you to determine how you were supposed to feel about that. It was challenging, but remarkably and consistently effective. More

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    Twin Peaks, Ep. 2.13, “Checkmate”: Who cares?

    One of the early ideas behind Twin Peaks was that the murder of Laura Palmer was never intend to be the central focus of the show for long—in fact, David Lynch and Mark Frost are often cited that if they’d had their way the murderer would never be revealed. Instead, it was meant as a mechanism to introduce us an audience into the world of Twin Peaks, meeting the various eccentrics and peeling back the curtain—red or otherwise—hanging over their secrets. The town would generate stories on its own, and eventually questions of Laura and her death would fade away into the ether. More

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    Twin Peaks, Ep. 2.12, “The Black Widow”: Searching for the bright spots

    Twin Peaks without David Lynch is certainly not the same, but it’s impossible to completely lose the magic. Watching these season two episodes can sometimes feel like you are consistently making excuses, forgiving this scene and that scene and placing it within the proper context for it to go down a little easier. The truth is that so much of the series still works, even as it tries to work against all that has been built by, say, giving James his own storyline. More

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    Twin Peaks, Ep. 2.11: “Masked Ball”: Off the board, off the wall

    The long-awaited revival of Twin Peaks returned from its own horrific limbo in the Black Lodge earlier this month, when David Lynch announced on Twitter that he’d worked out a deal with Showtime to honor his original commitment to direct the third season—only six weeks after he’d walked away from the project in a similarly public fashion. The news was met with universal acclaim and relief, because after being told this unique show was coming back, it felt wrong that the auteur from whose mind it sprang had to be involved to usher his creation into its next stage of life. They wanted to see it so much, in fact, that the show’s original actors even took to social media to offer character-specific similes on what losing him would mean to the show. More

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    Damn Good Podcast – Twin Peaks S01E07: The Last Evening

    For the finale of season one, Twin Peaks borrows a page from Dallas. Mark Frost writes and directs a finale with multiple cliffhangers, uncomfortable moments, great performances from multiple characters, and terrible performances from a few others. This is the last Damn Good Podcast before our hiatus to cover Season 3 of NBC’s Hannibal for […] More

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