My Thoughts on Showtime's Twin Peaks Episode 10 - Dread Central
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My Thoughts on Showtime’s Twin Peaks Episode 10

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We’re officially into the second half of Showtime’s “Twin Peaks” revival and things are actually progressing! That being said, they’re progressing the way Mark Frost and David Lynch want them to progress, so don’t go expecting too much now. However, what forward progress we’ve been given is rather substantial and now the pieces are coming together even more clearly, even if the greater picture is still completely obscured.

Now, go ahead and brew a pot of coffee and get yourself a slice of pie so that we can go ahead and dive into this episode, shall we?

To make things easier to follow, I’m going to discuss events as a whole rather than in the order that the show presented them, which is fragmented and spread out.

One of the big story arcs that we followed in this episode was the return of Richard Horne. We see him visit Marianne’s (Mary Anne?) trailer where she immediately tells him that he’s not welcome. In fact, she claims to not only have called the police and reported him for the hit and run that occurred in the sixth episode but also that she mailed a letter to the sheriff’s department explaining that it was his fault. Furious, he bursts into her trailer and kills her, leaving the gas running with a lit candle in the room.

Afterwards, he calls Chad at the police department to have him intercept the letter. When he learns that Chad did this – he manipulated Lucy and then got to the mailman before it was taken inside the station – he goes to Sylvia Horne’s, his grandmother, home, where she is tending to Johnny. In what can only be described as an intense and surreal scene, Richard assaults Sylvia and demands the code to the safe, where he proceeds to rob her. Meanwhile, Johnny is tied to a chair and table with a strange stuffed animal in front of him that constantly repeats the line, “Hello Johnny! How are you today?” Serene music plays in the background while Sylvia is horrified at Richard’s actions and Johnny is struggling to get free at the sight of his mother in distress. Richard states that he is now leaving town and spews more vile and hateful slurs at Sylvia.

Post this event, Sylvia calls Benjamin Horne to explain what happened before proceeding to berate him and demand more money, saying she’s going to call her lawyer. After they hang up, Benjamin asks Beverly out to dinner. Perhaps the restrained tension we’ve been seeing for several episodes will finally manifest into something?

Coming to Dougie/Cooper, we first see him when Jane takes him to the doctor for a checkup to see what’s going on. There, she suddenly notices the peak physical condition he’s in and is clearly aroused. Later that night, she tries to seduce him – in his current state, it flies right over his head – before taking him to bed and having a damn fine time. I have to say that it’s one of the funniest scenes I’ve seen in “Twin Peaks”, especially because of how oblivious Dougie/Cooper is during the event. He practically does a “dead fish” and just lies back allowing Jane to have her way with him. Afterwards, there is a tender moment where all the frustration, irritation, and anger that Jane has been showing towards Dougie melts away as they cuddle in post-coital bliss. This loving moment continues into the next morning as Jane is being playful and intimate with Dougie before taking him to work.

However, not all is paradise as Dougie and Jane don’t realize that there are forces conspiring against them…well, him in particular. The strange office man, Duncan, calls in Anthony, the man from Dougie’s insurance company. He instructs him to go to the Mitchums – the brothers who own the casino that Dougie won multiple jackpots at – and explain that it was Dougie’s fault that an insurance claim they put in for over $30 million wasn’t approved. The plan is to get Dougie out of the way, by whatever means necessary. Later, as the Mitchums discuss the information they’ve received, they conclude that Dougie needs to die.

During this whole scenario, Candy, one of the three women in the pink dresses, is given more of a role. First, she tries to kill a fly in the Mitchum’s house only to accidentally slam Rodney across the face, causing him to bleed. Later, she’s asked to bring Anthony into the control room at the casino and she certainly takes her sweet time doing so.

Continuing the storyline of Gordon, Tammy, and Albert, we see the first two observing Albert as he’s on a date. They are taking a lot of pleasure in this moment, although it seems that it’s out of genuine love for him and happiness that he can turn off his sour demeanor, even if only for a dinner date.

Later, Gordon is in his hotel room drawing a strange image of a four-legged beast with tall antlers and an arm reaching out towards it. He puts it away when Albert comes to his room. When he opens the door, he sees flashes of Laura Palmer in a shocking moment. The hallucinations fade away and Gordon invites Albert in where they discuss text messages that have been coming and going from Diane’s cellphone, including the one that Evil Cooper sent her. This seems to ring true to Gordon, who states that they need to keep her close. Tammy then comes to the room where she reveals a photograph from the room with the mysterious glass box from the first episode. The photo shows Evil Cooper standing next to it with another man, although we are given no more information about this.

The episode ends with an uninterrupted performance by Rebekah del Rio of “No Stars”, a song that was co-written by David Lynch. Fans will recognize her as the woman who sang “Llorando” from Mulholland Drive. It’s a breathtaking performance and she looks stunning in a dress that echoes the floor of the Black Lodge, especially with the red curtains behind her.

Interestingly enough, the episode ended with a few minutes to spare. For us fans who have waited more than two decades for new episodes, one ending early stings quite a bit. That being said, for all we know, there will be an episode that goes over by a few minutes, so I’m not grabbing my pitchfork just yet.

Here are some side events that didn’t take up much time but should be noted:

-There’s a scene where Harry Dean Stanton is playing his guitar outside the Trout Trailer Park manager’s office. He sees a cup get through through the window of another trailer and inside is Steven and Becky, the former of whom is screaming and physically threatening the latter. It’s the first we’ve seen of them since the fifth episode.

-Dr. Jacobi does another livestream where he is trying to peddle his gold shovels. Nadine Hurley seems to be eating it all up and we see that she’s watching from her office in Run Silent, Run Drapes, a store dedicated to the idea she came up with in the original series.

-Jerry Horne is still lost in the woods and is trying to get reception. This man needs a search party called for him.

-During the meeting between Anthony and the Mitchums at the casino, the music underneath sounds like a new version of Badalamenti’s “Night Life in Twin Peaks”.

-Hawk has another phone call with the Log Lady. She recites cryptic lines, which echo her meeting with Laura in Fire Walk With Me. She ends by saying, “Laura is the one“.


The forward progression with Dougie makes me feel like he’s slowly coming around. I don’t know why but this is the first time where I felt like he’s beginning to make progress and isn’t just reacting to outer stimuli, although it’s in extremely subtle ways.

Seeing Richard and his evil ways being taken out on Sylvia as well as Marianne (Mary Anne?) only leads me to believe that we’re going to see a righteous retribution and I cannot WAIT for that moment.

As for Gordon, Tammy, and Albert, I feel like they’re going to realize that Twin Peaks is the center of everything and that they will need to journey there. I can’t wait for the moment when Gordon runs into Shelly again! Now that I think about it, that might be awkward with Tammy in the picture…

Again, this episode moved several stories forward. Rather than introduce new threads, we were able to see specific storylines that have already been brought up receive more attention. We still don’t have specific answers or closures to any of them but we are getting closer to something clicking. Nothing that has occurred is falling by the wayside. Rather, everything’s unfolding as Lynch and Frost wish them to and purely on their own terms.

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Friday the 13th: The Game Welcomes Back Shelly Finkelstein This Monday!

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Earlier this past year, all of us Friday the 13th Part 3 fans we delighted when “Friday the 13th: The Game” added in Fox (Gloria Charles) as a playable character.

And now we have the announcement that another beloved character from Friday the 13th Part 3 will be joining the game this December.

Yes, Shelly Finkelstein (Larry Zerner) will be coming back to Camp Crystal Lake!

The Shelly playable character will be available for free with the latest patch. The new update will be coming for PS4 and Steam on Monday, Dec. 18th. The Xbox One patch to follow shortly.

Below you can watch the announcement trailer which was posted on Twitter earlier tonight.

After giving it a watch make sure to let us know how excited you are to see Shelly (aka the man who gave Jason his mask) back in action below!

Shelly Finkelstein hits Friday the 13th: The Game for PS4 and Steam on Monday, Dec. 18th.

Welcome Back Shelly!

The man responsible for 'handing' Jason his mask, Shelly Finkelstein will be coming back to Camp Crystal Lake to troll his fellow counselors…that is until Jason shows up! Get Shelly for free with the latest patch!The latest update will be coming for PS4 and Steam on Monday, Dec. 18th with the Xbox One patch to follow shortly!

Posted by Friday the 13th: The Game on Friday, December 15, 2017

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Graham Humphreys Reveals His Poster For An American Werewolf In London

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Graham Humphreys continues to cement his position as one of the top horror artists in the business with his stunning new poster for An American Werewolf in London. This piece was created as a private commission, and fans of John Landis’ 1981 classic are going to love it. You can view the final design of this incredible poster below.

Final design with text.

Graham also provided us with a detailed statement about the creation of the piece, along with a bunch of screen grabs taken throughout the process. If you scroll down to the bottom of the page, you can see how the final image looks before the text was added. In case you missed it earlier, you can also check out our extended interview with Graham here.

Exclusive Statement from Graham Humphreys
As a commercial artist and illustrator, there is only limited scope to make a job entirely your own – so with each project you are answering a brief in order to fulfill the needs of a client. Of course, the client may choose to give you free reign, though this is with the understanding that you are acknowledging their needs and thus expected to work within certain unspoken parameters. Mostly, these confines are defined by how a product is to be sold, licensing instructions and an understanding a market. With this in mind, the client is paying and thus nominally always right… though it would be unprofessional not to make them aware that other options might work better for them!

Without these commercial constraints, a private commission can remove the barriers because no market is to be met and there is only the artist and the private client to answer to. Creating a poster for a familiar and heavily licensed title is an entirely different prospect if it is not going to be generating money in the public domain and is thus essentially ‘fan art’. Unlike say, a T-shirt company ripping off someone elses art and charging money for the printed image, or perhaps a poster reproduced without permission by either the license owner or artist, then sold for profit.

Here, Dread Central have asked me to talk through one such commission, ‘An American Werewolf in London’, painted as a private commission for an individual that wishes to own a unique image that they themselves have made happen. NB: All likenesses and specific imagery (including the title and names etc) are subject to license and copyright and not for any use other than as examples of a work in progress (and of course, all rights are reserved!). Just need to make sure that it absolutely clear!

The client had commissioned two previous posters from me (as well as numerous poster designs from fellow artists), so a basic understanding of expectations had already been established.

My work begins by watching the film from beginning to end – to re-establish my own connection to the film (if one already exists). I saw ‘An American Werewolf in London’ (in London!) on it’s first run and the proximity to many of the locations (Tottenham Court Road tube station, Piccadilly Circus, being the obvious ones) made it instantly impressionable for me. Existing posters, in particular the official theatrical versions and various home-entertainment sleeves, focused on a limited image pool. My job was to find new ways of representing the film, free of the past baggage, but also to listen to my clients requirements.

Looking for a fresh perspective means avoiding the familiar stills that have defined the past marketing, this is achieved by making screen grabs from the DVD or blu-ray. As with most commercial jobs, I generally make a selection of about 40 images, then review these reducing the number to about 15 that have the best narrative potential, including a good visual range of actor expressions and reactions. My client required the Werewolf, London references, the moors, David and Jack, a full moon and the ‘Slaughtered Lamb’ pub sign… then whatever else I chose to include.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Selected screen grabs.

Selected screen grabs 2.

My first idea involved a portrait of David looking lost and frightened (I felt this was essential to the story), the Werewolf with it’s head bursting through the cinema shutters/signage (the idea of breaking the fourth wall), the decomposing Jack (a perfect metaphor for David’ s own life falling apart), his nightmare of the home invasion (one of the most effective and horrific moments in the film, I felt), plus Brian Glover’s ‘Slaughtered Lamb’ local – a look that defines rednecks and racists the word over when confronted by ‘other’!). I also wanted to add the tube attack victim to open up the carnage. Although Jenny Agutter’s nurse added the romantic dimension for an audience that expects the convention, I wanted to concentrate on David’s story, so chose to only include her face as if she were painted on the shutters, ie. a film poster element.

I was surprised that the client didn’t want the home invasion creatures, nor the reference to the sleazy cinema hordings (which I thought made a good location gag – obviously not!), they also did not want the rotting Jack. It was disappointing to lose these great horror elements, especially as they’d particularly wanted ‘horror’! But a compromise was reached by including the transformation scene at the bottom, and reinstating the moors (which I’d thought unnecessary).

Fortunately, my second sketch was well received and the painting could commence.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Once I have my sketch approved I reintroduced the photographic source material over the sketched parts, so that my layout remains exactly as approved and so that I’ll have the best possible likenesses to trace onto the watercolour paper.

Early sketched elements.

I usually have a basic idea of what colours I’m going to use. In this instance I knew that I wanted a silvery blue moonlight to bathe the entire image, but also the contrast of the orange glow of artificial lighting, the pub and cinema foyer. I knew the big splash of red in the wolf’s jaw would jump out, becoming the focal point. This painting took about three days to complete, the sketch process (including the grabs) about a day upfront.

Composition design.

The final painting was scanned and all the text added in photoshop.

My client will now make a full size poster print, to be framed, from the file I send him. Next up, ‘The Thing’!

Final painting before text was added.

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Syfy Renews Z Nation for a 5th Season; Season 4 Finale Airs Tonight!

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Syfy’s popular zombie series “Z Nation” just keeps shambling on, and tonight the two-episode Season 4 finale, “Mt. Weather/The Black Rainbow,” airs. If you’re a fan of the show, we have good news for you… it’s not over yet as David Latt of The Asylum has announced on Twitter the pickup of “Z Nation” for a 5th season! So you can expect lots more adventures with the gang in 2018.

Below is the official word from David along with a brief synopsis of what’s ahead tonight in the finale, which kicks off at 9/8c.

Synopsis:
In the mind-bending two-hour Season 4 finale, Warren and the team must stop Zona from launching operation Black Rainbow, which will cleanse the landscape of both zombies and humans. In Part 2 the secret of Warren’s Black Rainbow dream is unlocked when they reach their final destination. The cast includes Kellita Smith as Roberta Warren, Keith Allan as Murphy, Russell Hodgkinson as Doc, Nat Zang as 10K, Gracie Gillam as Sgt. Lilley, DJ Qualls as Citizen Z, Ramona Young as Kaya, Justin Torrence as President Donald Trump, Michael Berryman as The Founder, Micheal Daks as Mr. Sunshine, Anastasia Baranova as Addy, Sydney Viengluang as Sun Mei, Joseph Gatt as The Man, and Natalie Jongjaroenlarp as Red.

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