It’s likely that you have many queries on your mind. For instance, why did David Lynch carry out these actions? Was he portraying himself, a character, perhaps even an enigmatic creature like an owl or a frog moth? Also, it might be puzzling as to why Fox decided to discontinue the show when it was nearly reaching syndication ratings.
Christopher Walken isn’t manipulating the remote for his TV and struggling to input a lengthy, intricate password using the arrow keys. Instead, he’s instructing Apple TV+ to deliver DVDs of “Severance” to his mailbox. Even Blu-rays are off the table, Apple? Walken clarified on Andy Cohen’s Sirius XM show that he hasn’t watched all episodes … Read more
It appears that there have been previous rumors about a potential David Lynch series on Netflix. As reported by Variety, one of Lynch’s incomplete projects was a show titled “Unrecorded Night,” which had the code name “Wisteria.” Allegedly, Lynch intended to write and direct 13 episodes with an $85 million budget, and cinematographer Peter Deming (known for his work on “Lost Highway” and “Mulholland Drive”) was expected to be involved in the production.
In a tribute post, Netflix’s co-CEO Ted Sarandos did not explicitly mention this show, but his description of an unmade project that was affected by COVID-19 seems to match with the details provided by producer and frequent Lynch collaborator Sabrina Sutherland in a Q&A last year. According to Sutherland, “Unrecorded Night” was a series not related to “Twin Peaks” that was meant to be filmed at Netflix but was cancelled when the pandemic began. She added that there is still a possibility of resuming production on the show, but Lynch has been focusing on his artwork and music projects since then.
This episode, essentially, serves as a stepping stone towards a significant moment, although it deserves at least one, maybe even two stars in my rating, considering Untucked‘s performance this week. I’ll delve into all the other occurrences, but let me first highlight that exceptional episodes of Drag Race often function like breadcrumbs guiding the audience towards something memorable. It’s a fundamental aspect of storytelling, and Drag Race excels at it more than most competitions. This is what makes the show so captivating – it weaves understandable stories that culminate in iconic moments. In this week’s installment, the main narrative revolves around the bottom girls. For Lucky, it’s a tale of woe, and for Joella, it offers a deep dive into her character.
It’s delightful that Jamie and Claire are returning to the Ridge with Ian, Rachel, and their descendants. Interestingly, there will be more family members for them to care for in the homestead soon: Bree, Jem, and Mandy successfully pass through the stones and rejoin Roger (and Buck) at Lallybroch. Instead of returning to 1980, they opt to return to Claire and Jamie’s time. Given this show’s history, it’s safe to assume that both couples may face challenges in their journey home. However, having the Frasers back together will undoubtedly be heartwarming. It would also be touching to see Bree inform Jamie about meeting his father. The emotional bond between granddaughter and grandfather was beautifully depicted, and it hints at a potential prequel for Outlander. Moreover, listening to Brian lament over his love for Ellen was heart-wrenching, but imagine experiencing their full love story on screen — I am eagerly waiting for the prequel, ready to shed tears if needed.
David Lynch, for the first time, ventured into creating tonic ads, and that was for Calvin Klein’s fragrance Obsession. He produced four captivating and stunning advertisements, featuring actors like Benicio del Toro and stars from “Twin Peaks” such as Heather Graham, Lara Flynn Boyle, and James Marshall. These ads were shot in close-ups under the moonlight in a black-and-white setting. The voice-overs recited passages about desire from famous authors like F. Scott Fitzgerald, Ernest Hemingway, D.H. Lawrence, and Gustave Flaubert. Angelo Badalamenti provided the soundtrack with his enchanting synth melodies.
The film “I’m Still Here” unfolds in the early 1970s, during Brazil’s military dictatorship that took power following a 1964 coup. This era was marked by wrongful detentions, torture, disappearances, and deaths. Torres portrays Eunice Paiva, wife to exiled opposition leader Rubens Paiva (Selton Mello) and mother of five. Their vibrant household, filled with guests and friends, presents a contrast between the tranquility of their daily life – complete with beach outings, ice cream breaks, impromptu dance parties, soufflé dinners, and more – and the looming political unrest. The couple is well-aware of Brazil’s tumultuous political climate; they converse with friends planning to leave the country, and Rubens occasionally takes private calls and exchanges coded messages. However, when their eldest daughter Vera (Valentina Herszage) and her companions encounter a military checkpoint after watching “Blow-Up“, the distress is tangible.
Since the ending of “The Return,” reality and the dream realm have remained intertwined in a characteristically Lynchian fashion. Now deeply immersed in the world of “Twin Peaks,” Reber graciously opens her house, once shared by Laura, Alice, to verified fans. In this role, she acts as a guide for what has transformed into a significant pilgrimage destination for those who resonate with tormented Laura. Warm and compassionate, Reber frequently listens to the tales of pain and sorrow shared by her visitors, offering comfort through insights from her personal life and insightful interpretations of Lynch’s work. Over time, Reber has become deeply connected to the “Twin Peaks” fanbase; her home serves as an emotional hub and unofficial museum, filled with tokens and artwork left by patrons for Laura and Reber over the years.
Unlike other actors, Rebecca Ferguson, both starring and serving as executive producer on Silo, truly electrifies her role as Juliette Nichols, a mechanic-turned-sheriff who uncovers secrets about the world around her. Her performance is so intense that it could power a whole small town. In the season finale, she exclaims, “Be furious at those who constructed this place and imprisoned us here!”, delivering the line with such force that you can almost feel the walls shaking. Ferguson’s portrayal of Nichols is nothing short of remarkable, and her dedication to the character occasionally elevates Silo into something quite remarkable.
Fassbender’s portrayal as a statue-like spy might seem unusual for authentic espionage, but his captivating depiction of an agent grappling with existential stress makes the unconventional casting choice forgivable. The American remake of the acclaimed French spy series, titled The Agency, follows in the footsteps of spies who disrupt and damage everything they encounter, including themselves. While recent espionage series have subverted the traditionally grave genre with endearing losers (Slow Horses) or anarchic humor (Black Doves), this focus appears somewhat traditional. However, every aspect of The Agency, from its authentic portrayal of espionage work to its sleek cinematography and stellar cast, is executed masterfully. Few spy thrillers can compare to the excellence of this series.